Here they are: press and fan reviews on carry on and its singles from around the world....the good, the bad and the ugly. Best described as "mixed", they show that the album has confused and divided the world's critics. Hardly surprising when you consider how varied an album this is - after all, reviewers spend most of their working lives categorising "product". They can be easily alarmed when a musician they thought they had pinned down to genre makes a noise that threatens to mess up their categories.

The reviews from America's Rolling Stone, Britain's The Scotsman and Canada's Sun Media come from writers who believe a "rawk" singer should never be allowed to grow up, while the Seattle Weekly believes it has a better handle on Chris Cornell's "identity" than he does himself. Those from Kerrang, The Associated Press, The Washington Times, the Dallas Morning News and the UK's Manchester Evening News are typical of those who applaud the album's exploratory intent. Then there are those, like the reviews from BBC Music, America's IGM.com and the UK's IndieLondon, who are just plain old bewildered.

It's interesting to compare these reviews to those from the live tour, which have been much more positive - perhaps because in a live setting, critics (bless 'em) are given the new material to ingest in easy bite-size pieces in amongst the older and more familiar songs.

If you've seen a review I've missed, or you want to submit your own review to this page, please feel free to get in touch! For live gig reviews, see the tour page. For reviews of Chris Cornell's Paris restaurant Black Calavados, go here. And for my review of guitarist Yogi's solo album Metta, go here.

Pop Matters (USA)

Sounding Off

Chris Cornell is so much better off alone. Really.

Take, for example, his first go-around with Seattle grunge-rock mainstays Soundgarden in 1984. While riding the coattails of what turned out to be just another fad in the ever-so-frivolous world of music, Cornell’s first band was enshrined in the mundane world of plaid-rock with such memorable sleepers as “Black Hole Sun” and “Spoonman”.

Then came the all-star gala that was Temple of the Dog. While this project combined the limited talents of Cornell, Eddie Vedder, Matt Cameron, and Stone Gossard (any Seattle kid’s wet dream), it never found its way out of obscurity and into any teenager’s empty heart, or record collection for that matter.

And finally, there’s Audioslave. Again, something of a modern-rock supergroup forming in 2001, though it looked awfully good on paper, the combination of Cornell’s crooning and the Machine’s talents never quite lived up to what every alternative rock-music-listening junkie ever hoped for.

Really. Chris Cornell is better off alone.

Even his first solo release, 1999’s Euphoria Morning, peeked at hints of greatness and actual intrigue at times. Songs like Temple’s “Hunger Strike” and Soundgarden’s “Pretty Noose” couldn’t hold half of a candle to Morning lead single “Can’t Change Me”’s eerie feel and odd time signature. The performance itself simply felt much more liberating than anything any of his other projects have ever produced.

Which is perhaps why he opted to leave the world o’ modern rock group again with his second official full-length solo release in almost a decade, Carry On. Here, Cornell shines brighter than ever by ditching the watered-down sound of modern rock and giving the nod to something a little more accessible, and a lot more interesting.

“She’ll Never Be Your Man” is a pleasantly confusing love-torn tale that proves to be indicative of Cornell’s choice to pop things up throughout his latest effort. As the acoustic guitars and tambourines color in the backdrop, the almost-kind of twang-y hook and Cornell’s half-snarl suggest that a tiny bit of southern rock probably influenced this track, if not the entire record.

Then, songs like “Finally Forever” and “Killing Birds” prove to be how good everyone wanted Soundgarden to be. Two of only four tracks on Carry On that feel like they could have fit on a Soundgarden release, these two songs showcase the man’s powerful vocal ability in front of the lackadaisical guitar work that made Cornell’s first band so popular.

But Carry On is at its absolute best when Cornell visibly sheds any aforementioned desire to continue as a hard-rock artist. “Arms Around Your Love”, the best piece of songwriting Cornell has ever been a part of, is a three-and-a-half minute pop-rock single that needs to be everybody’s favorite guilty pleasure. The blatant pop-rock acoustic guitar backdrop and catchy electric hook make this song a damn good play for pop-radio domination. While he has never seemed any more generic, he has never sounded any better.

The only blemish throughout this colorful painting comes when Cornell tries something he obviously wasn’t sure he should do in the first place: A crack at Michael Jackson’s super-duper-mega-hit “Billie Jean”. While the performance itself feels forced and stiff, Cornell’s arrangement is sobering at best. It simply never picks up, making the song a harsh reminder that, yes, he can still be humdrum.

But one slip-up out of 14 opportunities really isn’t bad. Even songs like the predictable “Safe and Sound” and the Audioslave throw-away “Poison Eye” aren’t just not bad, but really kind of good. Before “Safe and Sound”’s balladry qualities become watered down, Cornell surprisingly takes a hold of the performance and commands attention with what turns out to be a shockingly soulful performance (the horn section helps too). “Poison Eye”, a song that may have fit better on his latest band’s second release, is more than tolerable and certainly more advanced than what Rage Against the Garden was ever going for. It keeps Cornell’s aggressive side intact enough to not override the idiosyncratic maneuvers his band displays.

And maybe that’s his secret. The common denominator in all of Cornell’s solo ventures lies within the limitations he puts on his insistent qualities, and that’s a good thing. Because with Carry On, an effort that shows exactly how simple and light Cornell can go, he proves that sometimes being alone isn’t all that bad.

- Colin Maguire, Pop Matters

The Freelance Star, Fredericksburg (USA)

For those familiar with the rock genre, Chris Cornell's name carries a lot of weight. Cornell is most famous as the frontman for the bands Soundgarden and Audioslave. On the heels of his recently announced departure from Audioslave comes "Carry On," Cornell's second solo album following 1999's "Euphoria Morning."

In the song "Ghosts," Cornell uses moving to a new house as a metaphor for a person growing, changing, moving forward with his life and leaving others behind. That seems to be a recurring theme throughout the album, representing his growing and maturing as an artist.

While most of his earlier work is fast-paced and edgier, this album is much more mellow and laid-back--and much easier to digest. Songs like "Finally Forever" and "Safe and Sound" benefit from Cornell's sensitivity as a vocalist. It would be easy for him just to uncork a huge scream like he has in the past, but he demonstrates proper restraint and showcases his versatility. Several of the songs have a distinct Beatles influence, most clearly the bouncy-yet-electric beat of "Poison Eye."

Cornell can still rock, however, as he proves on the first and last tracks: "No Such Thing" and "You Know My Name." If I didn't know any better, I'd have thought those songs were off an Audioslave record. Their hard-driving guitar riffs and passionate vocals make them my favorite songs on the album.

In short, approach this record with an open mind. Don't pick it up expecting the same style you're used to hearing with Cornell. Give each track a fair listen, and, like me, you'll probably be impressed.

- J P Stroman, Freelance Star

Freetime (USA)

Chris Cornell: Carry On

The mediocre reviews of Chris Cornell's new effort, Carry On, have been premature. Perhaps his rock-god good looks have blinded me but with Cornell's second solo outing, the grunge pioneer seems to have truly unleashed his creative juices, creating an adventurous romp that finds Cornell's trademark wails tempered by a less angry, and more soulful release. Influenced by his days with Soundgarden and Temple of the Dog, Cornell drew from a more organic place with these bands than with his last group, Audioslave, whose political, anthem-like style made for an unnatural fit. While Cornell rocks with the same passion on Carry On, his lyrics showcase a true romantic at heart, often speaking of love, both lost and found.

One such gem, "Arms Around Your Love," has to be one of Cornell's finest moments to date, as he speaks of what can happened when love is taken for granted, singing in pained fashion, "With his arms around your girl/He'll do all of the things/You didn't do before/You had every chance." Here is a perfect, hard-edged rock ballad that showcases Cornell's best qualities and sometimes recalls Soundgarden's outstanding, "Fell On Black Days." Cornell mixes in a horn section on the gospel-inflected track, "Safe And Sound," with a vocal approach of a true soul singer. That style continues on the more rocked-up "She'll Never Be Your Man," while Cornell's vox is in especially good form on "Ghosts," segueing from falsetto to alto with utter ease. On initial word of a surprise cover of Michael Jackson's "Billie Jean," fans may wonder "why?," but Cornell's slow, bluesy version of the track not only leads to kudos for him making the selection, but also somehow gives Jackson a much needed boost of musical credibility.

The former shirtless, boot-stomping leader of champion rock outfits may have softened on his more recent musical approach, but Chris Cornell's authentic artistic appeal is still in full view here.

- Michelle Picardo, Freetime Magazine

75 Or Less (USA)

Carry On is Chris Cornell's first release since the dissolution of Audioslave.

Many of this album's songs possess a vein of neo-southern rock, which might best be heard on the track "Safe and Sound". The songs are more melodic and laid-back when compared with his previous body of work.

The shift in bearing can be somewhat surprising at times, especially during a dawdling rendition of "Billie Jean". This is a solid effort, but may not be considered his best.

- j.p, 75 Or Less

Soldier (UK)

Carry On

Great vocals, great riffs and a great style would surely produce a great album so why did Carry On leave me so unsure?

The ex-Soundgarden front man has combined powerful rock, country blues and a few slow, but sometimes dull, ballads. It has the soundtrack to Casino Royale‚ You Know My Name, and a very dubious cover of Michael Jackson’s Billie Jean.

Having said that, after the last track had finished, Carry On does entice you to play it again. I may have to have just one more listen.

- Cpl Ray Kalaker, RETDU(B), Soldier Magazine (the magazine of the British Army)

The Star Online (Malaysia)

Metal Machine Music

Lead track No Such Thing, with its sludgy guitars, frenetic pulse and that familiar bellow may just be the best song Chris Cornell’s recorded since departing Soundgarden 10 years ago. It’s no Superunknown or Jesus Christ Pose but it’s harder than anything Cornell’s put out in the last decade, and that includes all the stuff cut with Audioslave.

Even the lyrics – “But my finger’s on the trigger that will turn off the world” – rage with the old fire. The next cut, Poison Eye, is less spectacular but still impressive. It’s psycho funk with an alt-metal bite.

Now, if only the remaining 13 tracks were as good as that opening double salvo, this would have been one of the records of the year. If only.

The problem with Cornell is that while he knows that you know he can do bombastic rock in his sleep, there’s a desire to prove that there’s more to him than meets the eye (or ear). This is the reason behind wimpy ballads like Hover and Finally Forever and the soul-tinged Safe and Sound that makes him sound like ... shudder ... Michael Bolton!

Even worse is that excruciating cover of Billie Jean. Yes, you read right! I do get the fact that Cornell is now in his 40s and probably no longer inclined to tear off his shirt and dive into the audience. But like it or not, that voice of his was built to rock. Hard.

– Edward Gomez, The Star Online

Tsunami Magazine (Brisbane, Australia)

CHRIS CORNELL Carry On

Chris Cornell is arguably one of the best rock singers of the past 50 years. He has an impressive CV: lead singer of one the best '90s grunge groups (Soundgarden), early '90s super-grunge group (Temple of the Dog) and more recently, rocking conglomerate Audioslave.

Now he is back with his second solo record since 1999's Euphoria Morning . There seems to be a bit of a trend going on; at the start of this year, Audioslave called it a day and a few months later we have Carry On . His first solo album came out following the 1997 break of Soundgarden - a bit of musical therapy perhaps?

Carry On is a sort of a neither-here-nor-there album. The 16 songs are more laid back and rock 'n' roll than the grungy vibe we are used to. An up-beat, almost positive feel resonates through this album on songs such as 'Poison Eye', 'Ghosts', 'Today' and 'Finally Forever'.

Standouts are the awesome 'You Know My Name', which featured in Casino Royale , and a darker, bluesy, rock version of Michael Jackson's 'Billie Jean'.

7.5/10

Luke D., Tsunami

knac.com (Boston, USA)

Carry On is the second solo album from former Audioslave and Soundgarden front man Chris Cornell. The popular 90's grunge singer steps into the spotlight and sheds his former grunge roots with an album that is filled with melodic ballads that have a reggae, soulful appeal.

Earlier this year, Chris departed Audioslave due to musical differences. On Carry On, Chris never loses his powerful, soulful edge of reaching his audience with his heartfelt, poignant lyrics and hypnotic vocals. Carry On features an artist who is clearly writing for himself, and not trying to fit into the same grunge genre that has long been passé. Although there are a few tracks that do capture that classic Chris Cornell-Audioslave/Soundgarden grunge sound that he is known for, the majority of the fourteen tracks on the album features a more, melodic Cornell who sings about subjects that he holds true to his heart.

The opening track, ”No Such Thing", features slithering, hard driving guitars, and vibrant vocals that put Cornell at the top of his game in the 90's. Chris generates the anger and passion that is reminiscent of his Soundgarden days. Definitely, one of my favorite tracks on the new release.

Another highlight includes the beautiful ballad, ”Arms Around Your Love". This song features great acoustic guitar work, and lyrics that make you want to fall in love. Chris hasn't lost his touch for taking you into his world and making you feel the intensity of his music.

Next up, the song, ”Safe and Sound", Chris recently said in concert was a song he wanted to write all his life. It is a song that is rich in melody, and acoustic guitar work that deals with violence in this ever-changing world.

"She'll Never Be Your Man", has an Eric Clapton bluesy kind of appeal with sauntering guitar and percussion rhythms, and blues inspired vocals. It sort of takes you down to the Blues and Jazz clubs of New Orleans, where blues is the music by choice, and the artist feels the pain in every chorus. Catchy guitar rhythms and up-tempo vocals are among the qualities that rule this track.

One of the most surprising songs on the album is the remake of the Michael Jackson hit, "Billie Jean". For a moment, I almost didn't recognize the tune, as Chris does a 180-degree turnaround, and turns the previous funky groove of the 80's hit into a compelling, sensual love ballad. Cornell's voice whispers, ”she was more like a beauty queen from a movie screen”, illustrating a real depth and rich quality to his voice, with a vibrant reggae appeal. Chris also pays tribute to all of the lives lost around the world to war and other violence in the politically-oriented song, ”Silence The Voices".

Carry On ends with a song that was in the James Bond movie, Casino Royale called, ”You Know My Name". Fans of the Soundgarden years will enjoy this song. I had the opportunity to hear "No Such Thing", "Arms Around Your Love", and "Safe and Safe", in his recent concert in Boston. I was really impressed how these songs stand up lyrically and musically.

On Carry On, Chris Cornell takes on the challenge of a solo artist, and uses his distinctive, warm melodic voice as his weapon. His vocals are reminiscent of a soulful Bob Marley, painfully honest and real.

- Debby Rao, knac.com

Ultimate Guitar.com (USA)

Sound: 7 /10

Ask 5 different people’s opinions about Chris Cornell and you’ll likely get 5 very unique perspectives. Whether you loved him in Soundgarden and hated him in Audioslave -- or vice versa -- Cornell has made some incredible songs that have spanned almost 2 decades. His latest release Carry On marks his 2nd record as a solo artist, and in similar fashion to his more recent efforts, the results are mixed.

The tracks on Carry On are another huge leap away from his music in Soundgarden and Audioslave, which will probably have some people furious off the bat. While there are guitar riffs here and there that are reminiscent of mellower Soundgarden songs, they are still subtle. The opening song “No Such Thing” is one of the true rock songs on the album, which features a nice guitar line that is carried through much of the song. If you have heard the James Bond theme song “You Know My Name” that Cornell performed for Casino Royale, then you’ll have a good indication what “No Such Thing” sounds like. They have a similar feel and tempo, and are fairly solid pop-rock tracks.

Cornell is actually most impressive when he really slows the tempo down surprisingly enough. “Safe And Sound,” a 1960’s flavored soul song, and his version of Michael Jackson’s “Billie Jean” are a few of the best tracks. Cornell’s vocals just seem more passionate when placed against a slower rhythm. There will be rock purists who despise both of the tracks, but if you can get past your adoration for Soundgarden (this reviewer is a big Kim Thayil fan, too) then you’ll discover that Cornell can still be effective at performing a soul song.

A few tracks like “Arms Around Your Love” and “Your Soul Today” just feel like generic rock tracks and seem a bit hollow without guitar backing from Tom Morello or Kim Thayil that often times carried the tunes. This doesn’t necessarily mean the whole CD is full of generic material. The CD contains 14 tracks and there are still some memorable moments like the Beatles-esque intro in “Finally Forever.”

Lyrics: 9/10

Cornell’s lyrics cover a lot of ground on Carry On, particularly considering he’s got everything from a soul ballad to a James Bond theme on the CD. “You Know My Name” does fit the Bond persona pretty well, and it even throws in some nice lines that allude to the gambling in the movie. Cornell sings, “If you take a life, do you know what you'll give; Odds are, you won't like what it is; When the storm arrives, would you be seen with me; By the merciless eyes I've deceived.” Considering he did have boundaries to work within, he did a pretty solid job.

He gets a bit more introspective in “Safe And Sound,” but still manages to not ever get hokey. He sings. “You'll open your eyes; Reading your paper, a drink from your cup; No one was burning down time; While you were sleeping.” Cornell can always pull out an interesting lyric here and there, and that is one of his strengths.

Impression: 7/10

Cornell still has some incredible vocal chops and that’s something that hasn’t faded over the years. Even when he is singing a laid-back track like “Safe And Sound,” he still has a very effective bluesy delivery. Strong vocals are aplenty on the latest record, but underneath the voice are songs that are primarily basic rock tunes that feel a bit lacking. The hardest part for most listeners will be not to reminisce too much about the sound of Soundgarden when listening to Carry On. There was a very unique quality about Soundgarden and some early Audioslave that just outmatches Cornell’s latest material. While there are those who adore anything Cornell performs, there is still something missing on the latest record. There’s nothing wrong with going in another musical direction by any means, but the songs just don’t feel as memorable as his earlier work.

- Ultimate Guitar team review

Inpress (Australia)

Chris Cornell: Carry On

Let's get one thing out of the way to begin with. If you've come tomeet this album with a certain bias toward Soundgarden or a certain bias toward Audioslave, then shed it and come clean.

You have to remember that Chris Cornell is his own person, and fair enough will always be bringing things to his table that will be partially derivative of his old bands, but let's also remind ourselves that Chris Cornell wasn't the lead guitarist in Soundgarden.

The whole album exudes that sense of a musical vision in its wholly initial stages - you know, those moments where you think "Oh! And then we could do this!", and the brilliant thing is that it has been followed through for the whole album, and hasn't fizzled out to the over-produced and perfectionist attitudes of good ideas like these or just ended up turning out shit.

The album covers an amazing amound of ground, from seriously blazing 'bang your head, motherfucker' riffage, to a gritty, jazz/garage-rock-ballad cover of Michael Jackson's Billie Jean.

Aside from his obvious vocal talents, his riff-writing and chord progressions are something of wonder (whether or not he actually wrote them), and keep a listener guessing by making connections and movements that are completely altered as to the expected movement.

Overall, the album hits a home run of pretty much every criteria - and engineering is fairly progressive, with the mixing and production stepping into refreshingly new territory at times - but the standout is definitely Chris Cornell's lyricism, concocting tales of sincerely forgotten souls and underhandedly spiked burns, just as in She'll Never Be Your Man. "She can be your friend/She can be your vision of a mother...but she'll never be your man".

Carry On is in a league of its own, and is the absolute perfect vehicle for Chris Cornell to advocate and carry his individual musical vision outward, away from his weighted past commitments.

- Atticus Bastow, Inpress, Melbourne

Dallas Morning News (US)

Chris Cornell - Carry On

A NEW CHRIS POSE: By now, bringing up Chris Cornell should require a background primer of just two words: Soundgarden and Audioslave. Now divested of the latter, Mr. Cornell is fully his own artist for the second time after fronting a popular band. The first attempt, 1999's post-Soundgarden release Euphoria Morning, was a quivering flop. Does Carry On defy its title and prove a better solo springboard?

CARRYING THE LOAD: Oh, yes. The first single and track, "No Such Thing," is easily the hardest rocker, but the Caribbean tinge of its guitar during the verses hints at the obvious reverence for heartland jazz, acoustic blues and roots rock that Mr. Cornell has learned how to channel. With an award-class production job by Steve Lillywhite (U2, Dave Matthews Band), Carry On's organic content consistently soothes and enthuses beyond Mr. Cornell's still-prodigal vocals. His instincts are assured and entertaining, from the high-revving harmonics of "Poison Eye" and the upright-bass- and horn-assisted gospel cheering on "Safe and Sound" to the underwater slides of "Scar on the Sky" and even on iffy cuts such as "Finally Forever," which resembles Michael Bolton warming up to cover "Black Hole Sun" in places. But perhaps the best example is a cover of Michael Jackson's "Billie Jean," which is chopped and screwed into a ghostly ballad straight out of a rain-sopped spaghetti Western's dénouement.

BOTTOM LINE: Bluesy, passionate and remarkably sweeping, Carry On makes Euphoria Morning seem like a pre-pro demo. Few of its doleful and restrained songs will be hits, but as a unit, this is a watershed work for one of this generation's most hallowed rock voices.

Grade: B+

- Mike Daniel, Dallas Morning News

Seattle Weekly

Who does Chris Cornell think he is? Does he even know? When listening to his new solo album, any sense of Cornell's personal identity is lost. He's arguably the best pure vocalist from the grunge-era bands, and this album definitely showcases that, but it's really hard to care.

The first time through, it all sounds great. There's a nice surprise with a cover of Michael Jackson's "Billie Jean" and the inclusion of his Casino Royale number, "You Know My Name," but nothing else stands out.

Listening to it again, the questions about Cornell's identity as a solo act return. At times he sounds like Bowie did on Heathen, and at others he sounds like...Michael Bolton. As a result, every track is akin to a cover song. (Speaking of covers, doesn't this one look familiar?) The rest of the liner notes crib designs from various periods of music history, only furthering the confusion.

We may remember your name, but the rest of your album is very forgettable.

- T.J. TRANCHELL, Seattle Weekly

ContactMusic (UK)

Chris Cornell Carry On

After six years and three albums with Audioslave, the former vocalist of Soundgarden releases his second solo effort, following 1999’s ‘Euphoria Morning’. Having officially called it quits with the ‘Cochise’ band (the remaining members have reformed Rage Against The Machine with Zack de la Rocha), Chris Cornell’s profile has been heightened by his selection to provide the theme tune to the 2006 James Bond movie, ‘Casino Royale’.

Even from opening track ‘No Such Thing’ it is easy to hear why Cornell has decided to pursue a solo career, with a heavy metal riff being mixed with a Latino-style acoustic guitar to give more variation than it possible to imagine Audioslave utilising. Indeed, what follows displays an appreciation for many genres, with ‘Poison Eye’ edging toward funk (and featuring a jagged solo that could have come from Tom Morello), ‘Safe And Sound’ leaning toward blues and ‘Finally Forever’ having a folk vibe. Less experimental is ‘Your Soul Today’ which romps along in classic rock style and ‘She’ll Never Be Your Man’, which has a power chord-charged chorus and a fantastically twisted solo which unfortunately ends too soon.

Two songs stand out from the rest on ‘Carry On’, not because the others are bad, but because the duo is stunning. ‘Arms Around The World’ is a mellow track with some wonderful guitar melodies that back a fantastic vocal performance – it’s easy to appreciate why it was selected to be a single. The other track is one that is often the best of the 1980’s, Michael Jackson’s ‘Billie Jean’. Wisely a reworking as opposed to a simple cover, Chris Cornell turns it into a sombre, acoustic tune that taps into the mournful nature of the lyrics. With more emotion than the original ever possessed, it is certainly worth hearing, even if it will never be as popular as the original. It is a measure of the man’s talent and confidence to successfully take a legendary song in a completely new direction and backs up his decision to go it alone.

- Alex Lai, ContactMusic.com

Washington Times (US)

Chris Cornell: Carry On

All metal singers should age as gracefully as Chris Cornell. The former frontman for Seattle grunge band Soundgarden is a few years north of 40, and rather than exult in rock-and-roll's promise of eternal youth, he imbues his songs with a welcome note of restraint.

That's not to say that the man who once opened for Danzig on tour has gone soft. A few of the songs on Mr. Cornell's second solo album snarl and fume as much as anything on the mega-selling Soundgarden album "Superunknown."

More than anything, "Carry On" is a showcase for Mr. Cornell's prodigious, agile voice. It is the lead instrument on every track. He combines astonishing range with rich timbre that he can vary on the fly. On the soulful "Safe and Sound," Mr. Cornell plays off the guitar with a touch of ragged tremolo, rising octaves above the melody to hit high notes here and there. On the opening track "No Such Thing," he accentuates the driving metal chords and agitated guitar fills with a loud, smooth vocal line.

"You Know my Name" was the signature song for the most recent James Bond film, "Casino Royale." Lyrically, Mr. Cornell offers exactly the mixture of earnestness and camp that the aging film franchise demands, opening with a typical Bondian non sequitur: "If you take a life, do you know what you give? Odds are you won't like what it is when the storm arrives."

He gives a gritty, understated vocal performance that meshes well with the hyper-driving drum line. His voice is perfectly suited to the demands of the Bond song, able to rise and fall effortlessly; to snarl at one moment and purr the next.

Mr. Cornell brings a weird intensity to his cover of Michael Jackson's "Billie Jean." Slowing the song down to half-time, Mr. Cornell assays the hit rhythm and blues number with the kind of manic passion that Eric Burden brought to "House of the Rising Sun." The arrangement is quite beautiful, with stray acoustic bass notes creeping out mid-measure, against an eerie whistle of synth and a gently plucked guitar, all building to a rumbling, raucous chorus. The tone and mood of the songs range from the arena rockish "Poison Eye" to the plaintive, twangy "Finally Forever" to the alterna-pop of "She'll Never be Your Man." Despite the varied genres and changing instrumentation, "Carry On" has a singular feel, thanks to the constant presence of Mr. Cornell's durable singing voice.

- Washington Times

Mojo (UK)

Chris Cornell: Carry On

Second solo album from ex-Soundgarden/Audioslave singer and 007 hitmaker

Post-grunge supergroup Audioslave was a marketing department's dream - the voice of Soundgarden backed by the musicians from Rage Against The Machine - that ultimately proved anti-climactic.

Now that Tom Morello, Tim Commerford and Brad Wilk have been reunited with RATM's firebrand frontman Zack de la Rocha, Cornell has found a hype-free context for his impressively manly pipes.

Produced by Steve Lillywhite and featuring late period Captain Beefheart guitarist Gary Lucas (albeit in AOR mode), Carry On is a livelier set than 1999's Euphoria Morning. Sprightly radio rocker No Such Thing and the sweetly melodic Arms Around Your Love should follow Casino Royale theme You Know My Name into the charts, even without the Bond factor.

Points deducted, though, for the lumbering cover of Billie Jean.

3 stars out of 5

- Manish Agarwal, Mojo

CD - Carry On - Chris Cornell

This is the second solo album from Chris Cornell, formally of Soundgarden and Audioslave. Cornell announced his decision to leave Audioslave back in February and has since sung the theme tune for Bond film Casino Royale and written this album.

Carry On is actually a confused album, there are songs that could be from any of Cornell's previous bands and range from sweet and soulful to dirty and grungy.

It's a collection which manages to be both catchy and dreary at the same time. It can go from rocky with a hint of country, to retro with a hint of folk, particularly in tracks like Your Soul Today and Today.

Standout tracks include current single Arms Around Your Love, Safe And Sound and even a cover version of Michael Jackson's Billie Jean.

Carry On is occasionally good, sometimes bad, but mostly just plain average.

Cornell seems to have lost his rage and his enthusiasm for making good rock songs and appears happy just to be making music.

If you're a fan of Chris Cornell you'll enjoy it, if you're a fan of either Soundgarden or Audioslave, avoid it.

BR, Redditch Advertiser

CB Music (US)

CD Review: Chris Cornell's Carry On

Chris Cornell may have never become the rock god some predicted, but to assert him as anything short of one of the great American rock vocalists of our time is sacrilege. Equipped with the similar larger than life range of David Lee Roth, accompanied with the same embittered soul of Eddie Vedder, Cornell always finds a way to carry on, tackling music the best way he knows how--his way.

Some are writing off Carry On, the Soundgarden and Audioslave frontman’s second solo effort since 1999’s sexily titled Euphoria Morning, as a misfire of rock, fused with blues, fused with soul. While this may not be an album of jaw-dropping brilliance, it’s a positive step for an artist who has a lot to say and invites us along for the ride as he searches for his best way of saying it.

The curtain opens with “No Such Thing,” a track that feels as though it could have appeared on an Audioslave record. Its heavy riffs and blazing vocals are reminiscent of “Show Me How To Live,” and it exists here as the lone rock heavy melody.

“Poison Eye” doesn’t sound so catchy on the first listen, until you find yourself humming it minutes later. This could very well mean the album should be listened to more than once. Patience is always the key, folks.

Cornell nuzzles us into his spiritual side, a side he shows on a few of these songs, on “Safe And Sound”: “Think of a time when a morning will come and you will wake up without the feeling half the world has gone insane/I’ve never seen but I believe in a promised land.” This is the best track on the album, a true testament of his lyrical and vocal graces.

Cornell’s spiritual ponderings continue in impeccable fashion with “You Know My Name,” an affronted reflection on murder. “If you take a life/Do you know what you’ll give?/Odds are you won’t like what it is/I’ve seen angels fall from blinding heights/but you yourself are nothing so divine/Just next in line.”

Not to be outdone, “Silence The Voices” adds a sharp, raw edge to the ever persisting theme: “Where are the songs from the sane minds?/And where are the words from the sound mouths?/I can’t understand how they silence the voices.” This certifies Carry On as a relevant album of rock and soul caliber.

Carry On does, however, offer a minor assortment of filler songs, such as the quirky “She’ll Never Be Your Man” (in love with a tranny?), “Disappearing Act,” “Finally Forever” and “Scar On The Sky.” But the missteps can be forgiven due to the majority of correct steps taken.

Apart from future reunions with Soundgarden and Audioslave, all that can be requested of Cornell is that for his next solo piece, he should try and refine it into a more steadfast, solid ensemble of tunes. His voice has always been more suited for pure rock anyway, yet his propensity toward the soulful is welcome. Carry On, while not a perfect release, further establishes him as a man of unique talent and fury.

- Brendan Butler, CB Music

New York Post (US)

CHRIS CORNELL: "CARRY ON"

Post-Audioslave, Cornell offers a wobbly mish-mash that ranges from Billie Jean to Nashville-pop.

Yet when he clicks on rockers like Poison Eye or the syncopated funk of She'll Never Be Your Man, his emotion-packed vocals still shine.

Download: She'll Never Be Your Man

Rating: 2 1/2

- By Dan Aquilante, New York Post

Orange County Register (US)

Sympathy for the part-time savior: Chris Cornell on his own again

My best friend Patrick, the one who lives in Seattle – where I hope Chris Cornell's name is commonly exalted in pubs and clubs – is the only other person I know who has listened to the only other album to sport the mighty vocalist's name on its cover, "Euphoria Morning." I sometimes wonder just how many people at Interscope ever heard it. It came out eight years ago now, while Cornell was searching for a way to build a solo career in the wake of Soundgarden's lamentable but apparently necessarily demise. But nobody was really buying it – the album or the idea of Cornell being his own rock entity, especially one who (on that album, anyway) sounded so slick, the way Garbage-y rock kinda sounded back in '99.

How little did the disc get noticed? I remember seeing Cornell at the Fonda when it came out, when the Fonda still had seats and was showing a staging of "Hedwig and the Angry Inch" from time to time. And there were enough empty seats for me to have had every member of my extended family (and Patrick's) alongside me.

Naturally, Patrick (who at this point may rank a tie with Paul Rodgers as his most favorite vocalist) and I cherish "Euphoria Morning," which sports some of Cornell's most instantly listenable songs: "Can't Change Me," "Follow My Way," "Wave Goodbye," the bluesy build of "When I'm Down." It's an album well worth digging up, in light of Cornell's return with the simply titled "Carry On." Carry on indeed – this solid hodgepodge not only picks up where he melodically (if not lyrically) left off with Audioslave, it also takes him back to the mainstream-ready approachability (not entirely a bad thing) he set out to achieve with "Euphoria." It doesn't end with his recent James Bond theme for nothing.

It also isn't as light as its solo predecessor; he didn't spend all that time with Audioslave for nothing, either. And he comes out hitting hard, with "No Such Thing," which gallops on an STP-infused riff but leaves spaces to dynamically duck into passages straight out of Bowie in the '70s. He also lets you know heavy isn't just for sprinkling: "Poison Eye" may sound a bit like Van Hagar crossed with Gang of Four, which just fits uncomfortably together, but it never stops rocking.

Nor does a bold but ill-advised remake of "Billie Jean" – yes, that "Billie Jean." Overhauling it into a slow waltz might have worked if Jeff Buckley were alive to give it passion in the proper register. Cornell's roar tends to obliterate the song; at times it's so hyper-strained I almost start laughing. But at least it's got bite, thanks in part to a beefy four-man band featuring guitarists Gary Lucas (who worked with Buckley) and Cameron Greider.

Yet what really makes "Carry On" worth hearing – more tenderly rendered pieces like "Safe and Sound" (like Amos Lee joining early Aerosmith) and "Killing Birds" (with traces of the Postal Service) and "Hover" (sweet psychedelia at sundown) – is precisely what may sink it with some people. That's a doubly sad possibility given the quickness to dismiss Cornell in the mad excitement surrounding Rage Against the Machine's return. Cornell deserves better than to be treated like a footnote, and though Audioslave was never the cherry bomb that Rage will apparently always be, its three albums will come to stand among the better hard-rock fare this decade produced.

If nothing else, Cornell's contribution should be valued as a means to hold the skeleton of Rage in place while its flesh fell away. He was a part-time savior, and with luck he benefited, too: If there were any justice, a whole new segment of younger fans that only discovered him with Audioslave will now be game to hear him wail romantically and self-reflectively on detours like "Your Soul Today" and "Finally Forever."

You'd think, in a year in which Daughtry is the biggest seller, that an originator like Cornell would get his due. But I get the feeling, Patrick, that this one just won't seem cool enough, or maybe it'll leave 'em too divided – too hard in spots for some, too soft in others for, uh, others. You and I are gonna be the only ones fanning this one's flame for a while, I bet. I'll start spreading the word down here.

Grade: B

- Ben Wener, Orange County Register

Celebrity Cafe (US)

Ex-guitar and lead singer of Soundgarden, Chris Cornell’s second solo album, Carry On, is a look inside this inscrutable artist who has gone through several life changes since Soundgarden split up in 1997.

Carry On is R&B, blues and rock all rolled into one superb package. Yet, Cornell’s voice still has its haunting melody that keeps fans clamoring for more.

On “No Such Thing,” there is fast guitar work from Cornell, Gary Lucas, Brian Ray, Cameron Greider and Dimitri Coats, and pounding drum play from Nir Z. Cornell emotes on how certain aspects of life just don’t exist and how he has tried to shield himself from the fallout, with such lines as, “It was beautiful, but the rain set in and ruined it all. Then I tried to be invisible but it was impossible even for me.” His voice has a hidden pain that will hit listeners’ way down deep.

“Poison Eye” has a profound rock feel to it as Cornell talks about seeing things in a distorted way, with such lines as, “I saw the light. I heard you singing, I know the song. It’s my turn to write, I put this hook inside…I got the radar and I can see so far with my poison eye.”

With “Arms Around Your Love,” there is keyboard work from Jamie Muhoberac, along with slower guitar work by Cornell, Lucas, Ray, Greider and Coats. Cornell muses about a relationship that doesn’t sound healthy, with such lines as, “With his arms around your love oh no here comes the pain that you can’t ignore…He’ll do all of the things…You had every chance but you closed the door, now you’re just gonna have to take it. Cuz he’s gonna make you pay for it. You’re just gonna have to take it with his arms around your love.” Cornell’s hypnotic timbre is seductive as he croons about love that can strangle you.

“Billie Jean” is of course Cornell’s twist on the Michael Jackson classic. This version is much slower and more spellbinding with Cornell’s evocative vocals and lingering guitar work by him, Lucas, Greider, Ray and Coats. The danceable nature of this song invoked by Jackson is turned on its ear by Cornell who gives the song a creepy vibe.

Carry On, from Chris Cornell, is an album filled with unforgettable songs and introspective lyrics from an artist whose voice will touch and sear listeners’ souls.

8.5 out of 10

- Sari N. Kent, Celebrity Cafe.com

IGN.com (US)

Chris Cornell - Carry On

Even the mighty are bound to make a few missteps

Few will refute the simple exclamation that Chris Cornell has one of the most intense and recognizable voices in all of rock music, at least during the past two decades. He's also been one of the most prolific songsmiths, first with Soundgarden, then Temple of the Dog, and most recently Audioslave. He's gone from underground legend (Soundgarden) and cult hero (Temple) to arena rock superstar (later SG and Audioslave) and he even managed to toss off a solo album in the midst of all that.

After his recent departure from Audioslave and the high profile (though ultimately lackluster) title song for Casino Royale, it should come as no surprise that Mr. Cornell would dip back into the solo pool. This time around sounding a lot less like his early career comparisons to Robert Plant and more like a gentler voiced Ozzy, Cornell delivers up an extremely mixed platter of rock ambiguity.

It's not that Carry On is crappy, it's just that the musicality shifting, lurching, and rolling behind Cornell's patented vocal careen isn't particularly spectacular. Actually it's more schizophrenic or perhaps more accurately it's suffering from a serious case of sonic personality disorder. On the one hand Cornell's band of the moment dishes out pretty standard, paint-by-numbers barroom-turned-arena rock. A lot of it ripples with after effects of late '80s LA metal crossed with a much slicker and less jammy interpretation of Southern Rock thematics. On the other hand it seems to shift without a moment's notice from style to style, often multiple times in a single song and every so often in a single measure. The end result is that Cornell's steady, confident vocals lose their foothold on the loose gravel music beds. Some might applaud such diversity, but in the end it merely serves to create a less streamlined listening experience.

"No Such Thing" kicks down the gates with crunching guitar amplitude that is a cross-breed of Soundgarden and Audioslave, then it morphs unexpectedly into a light samba shuffle of acoustic guitar over which Cornell croons. WTF? Just as you settle into the mellowness the chorus kicks in like some forgotten Ozzy refrain. Each element is captivating, to be true, but smashed together they are just a bit to disparate to actually create a cohesive vision.

Meanwhile "Poison Eye" brings the rage and skirl and sounds not unlike some of the final days music of SG. But ultimately it sounds a bit off, like it's missing that extra je ne sais quoi, you know? Meanwhile "Arms Around Your Love" is a maudlin (for Cornell) song that has a chorus which sounds suspiciously like something Third Eye Blind would whip out on one of their numerous hits. Then it's into contemporary pop terrain, complete with lilting moments of Al Green falsetto on "Safe and Sound," a track that sounds nothing like Chris Cornell (i.e. if you weren't aware it was him you'd never guess it was). It's strangely compelling, but also soft. Granted even the hardest of rockers have a hidden mellow side, but this is bordering on Rob Thomas meets vintage R&B territory.

By far and large "She'll Never Be Your Man" is the strangest tune on the album, lyrically speaking. If I didn't know better it almost sounds like Cornell is outing himself. Or maybe I'm reading too much into lines like "she can be your lover/she can be your friend/she can be your vision of your mother, like the one you never had/she will know your troubles better than I can/but she'll never be your man…" Of course it could just be an Iron John/male bonding/Budweiser drinking/pool playing ode. I'll leave the interpretation up to others at hand.

Raggedly twangy and rusted guitar leads into the shimmering acoustic sheen of "Ghosts," yet another track showcasing the more tender side of Cornell. When he ain't growling and yelping he actually has a pretty beautiful voice, but it's at such odds with his created persona of the raging, howling frontman that it takes some getting used to. That and the fact that the musical backdrop isn't anything that stands out from the rest of the pack of mature crooners (Rob Thomas, John Mayer, and the like) out there today. As much as it sounds like I'm hating on this track, the more you listen to it, the more it will grow on you, mostly because Cornell and the music actually mesh. It's the most consistent track on the album, for better or worse.

The album's real kicker, though, is "Killing Birds." Starting out with snippeted synth syncopation it allows Cornell's penetrating voice to command the track. Lyrically, it's on par with the rest of the album, delivering words that yearn for further dissection, unless of course you absolutely know what "as I'm standing here right in front of you killing birds" means. I certainly don't, but the combination of the liltingly scratching music and Cornell's impassioned plea make for a hypnotic blend.

The album's genuine head cracker, at least in terms of source material, sheds its skin in the form of a Michael Jackson cover. "Billie Jean" as read by Cornell becomes a dusted lament, a sad song of desperation and post-modern country melancholy. Jacko and Cornell make strange bedfellows, that's for sure, but kudos to CC for actually taking a much beloved hit and turning it into his own emotionally wracked masterpiece of slow burning turpitude.

"Hover" [he means "Scar On the Sky" - webmaster] is another quiet number that reverberates with strange, grating country mannerisms. Cornell's voice more or less does what the title suggests, hovering beautifully over the fairly standard slow crawl barroom backing. Yet as streamlined as the two are it's ultimately forgettable. In fact that's a major flaw in much of the music on this endeavor: it's strong and aggressive as well as sweet and emotional, but it's fleeting and fades quickly from memory. The melodies and grooves are there, delivered with competence, but lacking that extra special sauce that makes music memorable and perversely invasive.

A slightly funky, crunching boogie-woogie slant is instilled on "Your Soul Today," the guitars cranking and slinking with blues intoned wrangle. It's Cornell and company's version of mutant blues and it almost works, though the chorus, which kicks back into mock country terrain seems to be pushing and pulling against the rest of the track itself. It's only when Cornell delivers angst dripping reiterations of the title "your soul today…" that the song captures the majesty it was striving for.

Mellowness returns on "Finally Forever," another slow jam in which the smoother side of Cornell again rears its sleepy head. The steel guitar wavering throughout the track bears slight shades of "Blackhole Sun," lending the track a clouded sense of déjà vu. Again, Cornell's vocals mesh brilliantly with the music, but neither has that special something to make it a bona fide classic. There's an overwhelming desire of torch song malevolence and grandiose posturing on "Silence," which features a militaristic snare cadence and an epic stance that's slightly over-the-top. It actually feels epic for epic's sake, if that makes sense at all. It also feels out of time and space, something that might have worked better three decades in the past as opposed to the here and now. Yet just like "Ghosts" it has a hypnotic refrain that works its way under your skin no matter how cheesy your cerebellum tells you it is.

The album wraps up with the acoustic "Disappearing Act," a wonderfully nondescript slice of Cornell crooning with passion over guitar, tambourine, and cello. Then there's the final swan song, "You Know My Name," a track most will recall as being the theme song to Casino Royale. As with many of the more recent Bond themes, it's fairly forgettable. Also, one has to wonder why Cornell included it here. For an artist as prolific as he is one would have figured he'd have other tracks he could have slipped onto the disc rather than re-hashing one that was sold as a single back at the tail end of 2006.

Carry On is a confusing collection of songs that never really seem to gel together as a singular whole. The album never actually feels like an album, yet it contains a few stellar moments of passion and fire that solidify Cornell's place in rock history. Yet these moments are few and far between and even at their brightest they fail to live up to his Soundgarden and Temple of the Dog legacies, falling more in line with the work he did with Audioslave: it's decent but not epic by a long shot. With Carry On Cornell seems to be somewhat aimless, searching for his voice and style like a lost sonic wanderer; this is a journeyman album where a gifted tradesman is trying to pinpoint the perfect intersection of art and emotion that will bring his talents to the forefront and make the most of them. This is an album that you desperately wish to love from start to finish, yet every time you stumble upon a little element that you adore there's another element that you'll despise. This push/pull, heaven/hell, good/bad struggle lingers throughout the 14 tracks and in the end creates a sonic experience that is more exasperating than exhilarating.

7.2 out of 10

- Spence D., IGN.com

Chart Attack (Canada)

CHRIS CORNELL Carry On

Much like Audioslave’s three forgettable releases, Chris Cornell’s second solo album starts off by completely misleading the listener. Its conceit is that the singer has finally heard a copy of Badmotorfinger after all these years and has gone back to writing the riffs and wails that made him famous.

After "Arms Around," the third track and first of many, many ballads, you realize that this just isn't the case. The sad truth is that the Corn is in his forties now, and he’s making the kind of mellowed-out music you’d expect a guy his age to make. It’s still a few steps above the dreck that guys like Rob Thomas spew out, but each song follows the grandiose easy-listening style of last year’s James Bond theme, "You Know My Name," which is also included here.

After hearing the truly baffling cover of Michael Jackson’s "Billie Jean," you'll realize Cornell’s moved on from his past, and maybe you should too.

- Shehzaad Jiwani, Chart Attack

Seattle Post-Intelligencer (US)

Listen Up: Chris Cornell's 'Carry On'

It's been 10 years since the breakup of Soundgarden, an iconic Seattle band of the grunge era that reached its zenith with "Superunknown," an album that sold more than 3 million copies and earned the group two Grammy Awards.

With a powerful voice that is part banshee wail and part raspy, soulful croon, lead singer Chris Cornell used his rock star credentials to launch all-star band Audioslave, which he walked away from earlier this year. Cornell's new solo album, "Carry On," provides a foundation for a solo career that failed to materialize with his 1999 solo debut, "Euphoria Morning."

Produced by Steve Lillywhite (who has worked with the Rolling Stones, Dave Matthews Band and U2, among others), "Carry On" is an impressive, if uneven, collection of soulful, sometimes bluesy rockers that demonstrates Cornell's willingness to experiment.

"No Such Thing," the first single, opens with somber soulfulness before exploding into a full-throttle, guitar-crunching song that should please longtime Soundgarden fans. The song's range of emotions, styles and tempos is representative of a collection of songs exploring varied themes such as heartbreak, redemption and world peace.

Among the more interesting tracks is Cornell's subdued version of Michael Jackson's dance-floor anthem, "Billie Jean." The 1980s classic comes across as a dark, lugubrious tale of troubled romance.

"She'll Never Be Your Man" is tinged with R&B influences, and "Scar on the Sky" has an unexpected country flavor. "Disappearing Act," originally an acoustic song that played during the credits of the horror movie "Bug," receives the full-band treatment on "Carry On." The album closes with "You Know My Name," the song Cornell wrote and recorded with composer David Arnold for the James Bond movie "Casino Royale." But it lacks punch and makes for a tepid final track.

DOWNLOAD: "Silence the Voices"

-- Gene Stout, Seattle Post-Intelligencer

Los Angeles Times (US)

Chris Cornell "Carry On"

There's not much need to shout

Context does make the rock star. In Soundgarden, Chris Cornell was a '90s rock god of wailing, grungy heaviosity, equal parts punk and Zeppelin. With Audioslave, he led the remnants of Rage Against the Machine for three albums marked more by dependable hard-rock craftsmanship than real inspiration. All by himself, and on his second solo album (in stores today), Cornell is neither, turning down the volume just enough to find a comfort zone of melody and bristling emotion.

More crooner than shouter now, Cornell can still uncork a raging vocal when the mood is right, but that isn't often. He sets a high standard with the album's opening track, "No Such Thing," erupting with furious electric guitar before slipping into a solemn, romantic vocal melody that is blatantly McCartney-esque and a long, long way from "Black Hole Sun." Later, "Safe and Sound" is the kind of manly, soulful ballad Clapton traded in during the mid-'70s, a sound hinting of romantic loss and desperation. There's also a bit of James Bond melodrama on "You Know My Name," recorded originally for the soundtrack of "Casino Royale" with film composer David Arnold.

Not everything here is so fully formed or satisfying. "Poison Eye" begins with a nice Stonesy riff and then goes nowhere. But a grim, spooky take on Michael Jackson's "Billie Jean" is amusing enough, even if it sounds a lot more like Metallica's "Nothing Else Matters." Jacko's mega hit survives the stunt translation. So does Cornell, his days as a righteous hard-rocker may be behind him now, but he remains a singer searing and distinctive, once more feeling his way into a new sound and setting.

2.5 out of 4 stars

— Steve Appleford, Los Angeles Times

Associated Press (US)

Music Review: Chris Cornell Returns To Form On Versatile And Rewarding "Carry On"

Soundgarden fell apart, and Audioslave crumbled under creative differences, so it's fitting that Chris Cornell's long overdue second solo disc is entitled ''Carry On.''

The enigmatic singer-songwriter's first solo effort, 1999's experimental ''Euphoria Morning,'' was celebrated by critics and won him a Grammy, but fans didn't appreciate that it sounded nothing like Soundgarden.

As before, those who disregard his past will see Cornell's latest introspective adventure for the joyously eclectic journey it is.

He brings a light touch but loses none of his intensity, and the disc does rock hard in several places - the versatile ''No Such Thing,'' ''Poison Eye'' and a fantastic ''Your Soul Today'' will please even the harshest critic.

However, he shines brightest on the low-key, personal moments, particularly the bluesy lament ''Safe and Sound'' and colorful acoustic tracks like ''Ghosts,'' ''Finally Forever'' and ''Disappearing Act.''

Cornell's most powerful instrument remains his voice - passionate and commanding but also soft and emotive. His grinding cover of Michael Jackson's ''Billie Jean'' would have seemed an amusing aside in lesser hands, but is sung with such straight-faced conviction it's oddly contagious.

''Carry On'' proves Chris Cornell remains a vital voice. Let's hope he stays on his own for a few more creative outbursts.

CHECK THIS OUT: For a taste of Cornell's softer side look no further than the lush ''Arms Around Your Love,'' with a slick and minimal guitar lead which floats over one of the catchiest hooks he's ever written.

By JOHN KOSIK, Associated Press Writer

Billboard (US)

The cover art on Cornell's second solo album suggests a folk record from the early '60s (and the title suggests a Kansas cover lurking about somewhere).

But the music inside is strictly crunchy, dare-we-say-grungy rock straight out of the '90s Cornell helped shape with Soundgarden. "Ghosts" sports a nostalgically Seattle-ish minor-chord riff and appropriately soaring chorus; "No Such Thing" out-Velvet Revolvers Scott Weiland; and meaty-sounding ballads "Disappearing Act" and "Silence" end the record in unusually strong fashion.

Elsewhere, the headline-grabbing cover of "Billie Jean" is well-intentioned but still a little silly, although it boasts a crazy, Eddie Van Halen-sounding solo.

The best thing here is "You Know My Name" from last fall's "Casino Royale," but that makes sense: This is some of Cornell's most uncomplicated and accessible music to date.

—Jeff Vrabel, Billboard

Spin (US)

Grunge forefather suffers from amnesia-or just bad taste?

Apparently, Chris Cornell spent his grunge glory days wishing that her were in Stone Temple Pilots.

On his second solo outing, the former Soundgarden and Audioslave frontman dresses down the faux-Zeppelin balladry of 1999's Euphoria Morning with heaps of fuzz and cock-rock posturing that suspiciously recall a certain much-maligned San Diego quartet.

The opener sounds like a rip of radio smash "Sex Type Thing" and is even called "No Such Thing". Maybe this is what living in France does to you.

- Kyle Anderson, Spin (thanks JoAnne)

Entertainment Focus UK

Chris Cornell - Carry On

Former Soundgarden and Audioslave frontman Chris Cornell steps into the solo spotlight with his second solo album Carry On. Cornell's debut album Euphoria Morning was released in 1999 and despite garnering critical acclaim wasn't a huge commercial success. It should be different this time around as Carry On comes hot on the heels of Cornell's smash-hit Bond theme You Know My Name, which is included on the album.

Carry On is a pretty lengthy album, coming in at 16 tracks long. Across the 16 tracks, Cornell gets the chance to showcase the different sides to his personality and music as well as hint at the direction he may follow on his solo path. It's to his credit that Cornell has decided to take a varied approach to his solo work and take a few chances

. The first thing you always notice about Cornell is his incredible voice. There is no other singer out there like him and his voice is so distinctive it actually sends shivers down your spine. His voice gets a good work out on Carry On. Opening track No Such Thing is one of the heavier songs on the album and allows Cornell to let rip in his usual way. Throughout the rest of the album he gets to show he is capable of a more restrained and melodic vocal.

Carry On touches upon a variety of musical genres. Arms Around Your Love is a mainstream pop song, Safe and Sound has a bluesy sound to it and Scar On The Sky has a hint of country in the mix. Those who hoped, or expected, Cornell to stick to the heavier rock material he usually performs may be disappointed. The rest of us will relish hearing one of the world's best male vocalists turning his hand to every style of music he can.

The oddest, but not altogether unpleasant, moment on the album is Cornell's cover of the Michael Jackson clasic Billie Jean. He strips the song away from it's R&B pop roots and reimagines it as a gently building guitar ballad. It's an interesting interpretation and bound to upset the many MJ fans out there but it's a pretty damn good cover.

Highlights on the set include Casino Royale theme You Know My Name, the beautifully haunting Disappearing Act and the punchy acoustic number Today which features a falsetto vocal from Cornell.

Carry On is a new start for Cornell. He has moved away from the dark, moody material of his solo debut and progresses from the all-out rock of his previous bands. He emerges from Carry On as an impressive songwriter and a promising solo artist. I for one can't wait to see him tour the album.

- Philip Ellwood, Entertainment Focus UK

Daily Utah Chronicle (US)

Chris Cornell Carry On Interscope

Chris Cornell is gifted. Soundgarden declared this. Countless collaborations and songwriting credits confirmed it. Audioslave may have forced some to question Cornell's taste--but never his skills.

Carry On carries Cornell's weathered croon and sphere-scraping falsettos on to even firmer grounds--though his taste is still in question.

"Disappearing Act" invokes the spirit of fallen friend Jeff Buckley as it swells from humble acoustics to symphony-backed anthem. "No Such Thing" is an honest rock jam that'll dust off many a Temple of the Dog record.

But then comes a cover of Michael Jackson's "Billie Jean." Why?

Three out of five stars

- Dan Fletcher, The Daily Utah Chronicle

AllMusic Guide (US)

Chris Cornell's first solo album Euphoria Morning was released just after Cornell had shaken the shackles of Soundgarden and he was making a definitive break from their heavy heavy sound by indulging in bucolic singer/songwriter clichés.

It went nowhere commercially but led him toward Audioslave, where he spent three albums pushing and pulling against the core of Rage Against the Machine.

If Euphoria Morning was breaking from the past, Carry On is about reconnecting to it, returning Cornell to music that feels more comfortable than Tom Morello's staccato riffs. Right from the beginning, he pushes out arena-filling riffs that feel more at home on a Soundgarden record -- not as heavy and certainly not as tortured, but something more mature and more recognizably of Cornell's lineage than much of Audioslave.

It sets the stage for a record that's seems like a rare hard rock maturation, but soon Cornell returns to the singer/songwriter mannerisms that seemed appropriate on his first debut -- he was stretching his legs after Soundgarden, after all -- but now feel anemic, particularly because they're executed with quivering sensitivity and a near belligerent tunelessness.

These are the songs that feel forced -- as affected as his coffeehouse cover of "Billie Jean" -- but when Cornell loosens up and gives the music backbone (and a backbeat), he not only comes alive as a performer but the writing is sharper and better, pointing a way toward an artistic middle age that's richer and more compelling than what's heard on the bulk of Carry On.

- Stephen Thomas Erlewine, AllMusic Guide

Entertainment Weekly (US)

Cornell Mild

Carry On (2007) Chris Cornell

Carry On offers one brief flash of the old roar from the singer's Soundgarden days, then lowers the volume for the rest of the ride.

For people of a certain age and era, Chris Cornell's status is iconic: the wild-haired howler who made Soundgarden more than a metal thing, or a grunge thing, or even just a '90s thing.

After a decent but ultimately underwhelming run with Audioslave, that now-vintage Cornell is back on ''No Such Thing,'' the incendiary opener of Carry On, his second solo release.

And then...it goes away again. There is nothing wrong with a calmer, mellower Chris — after all, he's now a sober, forty-something dad. But it's hard not to pine for the old fire.

Grade: B

- Leah Greenblatt, Entertainment Weekly

Kerrang (UK)

Chris Cornell: Carry On

Former Soundgarden man goes it alone

If you're mourning the demise of Audioslave, at least console yourself with the fact that Chris Cornell isn't. Whilen his former bandmates revisit old times as Rage Against The Machine, Cornell moves forward.

Carry On, his second solo album, is a peach, a rich and vibrant collection that manages to be both powerful and soulful. There isn't a bad song here, and there are a number that may prove to be great.

This perhaps shouldn't be a surprise; after all, Chris Cornell isn't new to this. But these 16 tracks show that you don't have to burn out OR fade away, and that while fashion is temporary, class is permanent.

4 out of 5

- Ian Winwood, Kerrang

Melbourne Age (Australia)

Carry On - Chris Cornell

Chris Cornell's Audioslave union with Tom Morello and Co was tenuous and occasionally fractious. Cornell is the former Soundgarden frontman with one of the grunge era's most potent set of pipes. In recent times, he has battled drug addiction, fallen in love and married, moved to Paris and set up a restaurant.

That's not to say Audioslave was a total waste of time: their three albums comprise a handful of excellent tracks (and some flotsam, too). Fresh from that band's break up, Cornell returns with his second solo album and it's a mixed bag.

Carry On is mostly an old-fashioned singer/songwriter-type effort replete with earnest mid-tempo rock'n'roll introspection. The fast-paced, hard-rocking opening salvo No Such Thing is a deceptive indicator for the rest of the record. Actually the Morello-aping guitar programming on the first couple of tracks only serves to remind us of Cornell's former bandmates' musical proficiencies.

However, there are too many plodding moments. Some mawkish lyrics are saved only by Cornell's compelling vocals. And what of the bizarre, stripped-back cover of Michael Jackson's Billie Jean? Like the album itself, it almost works.

3 stars out of five

- Andrew Murfett, Melbourne Age (thanks Mel)

Rolling Stone (US)

Welcome back to another episode of the long-running series Chris Cornell: What Happened?

Last time, we learned that it took only one Rage Against the Machine reunion gig to turn Audioslave's whole existence into a Van Hagar joke.

Now, we tune in to the tasteful pop songs Cornell is singing (and of course songwriting) on Carry On. Shrieking to Kim Thayil's guitar, Cornell was an instrument of awesome. (Listened to Superunknown lately? Even better than you remember. "My Wave," holy crap.)

But his talent is for mindless wailing, hitting money notes in the high-grunge style, and he has no knack at all for the subtle sound he's trying now.

Groaning "Billie Jean" or ponderous originals like "Scar on the Sky," he's nothing without the dumb grunge overkill he's been trying to put behind him since Soundgarden broke up. Hair? Short. Shirt? On. What happened?

- ROB SHEFFIELD, Rolling Stone

2.5 stars out of 5

The Tennessean (US)

Chris Cornell gives solo career another shot

Chris Cornell's reputation as a rock-band front man is a justifiably lauded one — his glassy voice helped propel both Soundgarden's cerebral metal in the '90s and Audioslave's space-age classic-rock in the '00s.

His initial step as a solo artist, 1999's Euphoria Morning, didn't enjoy quite the commercial success those bands did, though, maybe because fans weaned on his muscle-flexing felt too little of that, and too much of the haunting atmospherics that shivered through Soundgarden's Superunknown.

Still, while Euphoria wasn't terribly aggro, those atmospherics were plenty pretty and the songs were plenty affecting, given Cornell's flaming arrow of a voice.

Having recently left Audioslave, Cornell is back to the solo-guy approach, and early tastes of his upcoming Carry On sound like he's found a brawn-to-sensitivity balance that'll grab tighter hold of his band-won fanbase. "She'll Never Be Your Man" is a taut but wriggly post-grunge soul stomp, "No Such Thing" a combination molar-crunching '90s-Seattle throwback and strummy folk-pop serenade.

—Nicole Keiper, The Tennessean

Winnipeg Sun/Sun Media(Canada)

Voice Doesn't Carry

It's becoming an all-too-familiar pattern. First, Chris Cornell rocks out with a killer band for a few years, sells a bunch of records and gets all the fanboys yammering about how he's the greatest frontman in history. Then he gets tired of all that loud music. Or he wants to prove himself as a songwriter. Or he just wants things his own way. Or whatever -- honestly, we have no idea what he's thinking.

In any case, he leaves his successful, acclaimed rock band to make a solo album. And it bites.

OK, maybe that's a little harsh. But let's be honest: Cornell's second solo CD Carry On -- much like its predecessor, 1999's Euphoria Morning -- most assuredly does not rock out.

Instead, it once again finds the gravelly Soundgarden / Audioslave belter foolishly ditching his sweaty leather pants and donning a bland, ill-fitting ensemble of poppier melodies, softer rhythms and more power ballads than a Celine Dion-Michael Bolton double bill.

Before all you fanboys start your e-mail engines, yeah, he's still got some great pipes. But on the vast majority of these 14 samey-sounding cuts, he simply does not put them to very good use. Unless you happen to think acoustic-guitar covers of Michael Jackson are a swell idea, that is.

But there is good news: If Cornell stays true to form, he'll be fronting another A-list rock band in a couple of years. And last time we checked, Van Halen still had an opening.

No Such Thing 3:44 Cornell knows what the kids want. So this opening single is the token rocker, with a hard-driving beat, a chugging low-neck riff and some searing licks on the margins. But the acoustic guitars that carry the verses should be a tip-off of what's to come. Still, when he opens up and cuts loose on the big chorus, all is momentarily forgiven.

Poison Eye 3:57 It doesn't rock quite as hard as No Such Thing, but it does have a decently chunky, clanging guitar line that leaves room for some nimble bass work. If the whole album were like this, it would be OK. But it's not.

Arms Around Your Love 3:34 The first sign of trouble: We're already mellowing out. Admittedly, this jangly midtempo cut isn't quite as wimpy as its title implies -- but still, not a good sign.

Safe and Sound 4:16 This is precisely what we were talking about -- the disc is barely 10 minutes old, and Cornell is already into full-on power-ballad mode. The Memphis horns are a nice touch, but the rest of this song is tailor-made for American Idol.

She'll Never be Your Man 3:24 Another mellow midtempo groove. Another strummy acoustic guitar. And another smoky vocal. The bluesy slide lick and gender-bending lyrics help -- but only a bit.

Ghosts 3:51 What a surprise -- it's a midtempo, acoustic-guitar number. This one's got more of a folk-rock feel, but even so, enough already. Our finger involuntarily twitches toward the skip button.

Killing Birds 3:38 Yet another downtempo track -- this time powered by an insistent drum machine, topped with some twangy guitars and a tense bassline. You wait for it to explode into a big chorus -- but it never does. "It makes no sense to me," wails Chris. Us neither, buddy.

Billie Jean 4:41 Yes, that Billie Jean. Apparently, Cornell thought it would be a good idea to transform Jacko's paternity-suit pop into a smouldering acoustic-guitar waltz. He was wrong. This is just awful.

Hover 3:40 [Webmaster's note: he means Scar On The Sky - this was an earlier title] Again with the acoustic guitar, the downbeat tempo and the Michael Bolton wailing. The swooping-seagull solo keeps us briefly interested.

Your Soul Today 3:27 Hey, what's that? It's an electric guitar -- and not a moment too soon. Cornell finally picks up the pace with this chunky Stonesy rocker. It's no Spoonman -- but at this point, we'll take what we can get.

Finally Forever 3:37 That bit of momentum he built up with the last song? It's gone -- and we are back in the coffeehouse of plodding power balladry. We would pay someone to smash that freakin' acoustic guitar.

Silence 4:27 [Webmaster's note: he means Silence The Voices] This is some sort of anti-war cut that starts off with big ringing chords and some martial snares, and then gradually evolves into yet another overblown power-ballad. Silence? We wish.

Disappearing Act 4:33 At least the acoustic guitars are sorta bluesy and folksy on this one. We are trying to stay positive -- but seldom have we wanted an album to end as desperately as this one.

You Know My Name 4:00 Frankly, when you resort to tacking your six-month-old James Bond theme onto the end of your CD -- and when it's one of the three heaviest tunes on the thing -- you know you have done something very wrong.

By Darryl Sterdan - Winnipeg Sun/Sun Media

BBC Music (UK)

Chris Cornell - Carry On

Back in February, Chris Cornell announced his decision to leave Audioslave on account of ‘personality conflicts’ and ‘musical differences’.

Three months on, he’s releasing his second solo album. Any chance those conflicts and differences could have been down to the rest of the band deciding not to record Chris’ songs?

A listen to Carry On would make you understand why if it was. Let’s get one thing straight from the start: it is possibly the most confused album you’ll come across all year.

Stuck somewhere between Cornell’s initial incarnation in Soundgarden and a curious entry to American Idol, it is a collection that is both catchy and dreary at the same time, shown perfectly in the opening trio of ''No Such Thing''’s grown-up grunge, the MOR stadium rock of ''Arms Around Your Love'', and in the middle, ''Poison Eye'''s schizophrenic meanderings between the two.

The problem is Cornell’s voice. As distinctive as the sound it helped invent back in the 90s, when he stretches away from that grating grunge and rock, it shows an unexpectedly dull edge that lacks an ability to convey emotion. It’s a nuisance that weighs down the lumpen Bond theme, ''You Know My Name''.

Away from that, weirdness rules the roost, from a peculiarly unsettling version of Michael Jackson’s ''Billie Jean'' to the cover artwork, made to resemble the sleeve art of the likes of Miles Davis and Marvin Gaye.

If that weren’t enough, there’s a frankly disturbing ditty about your missus running off with another woman called '‘She’ll Never Be Your Man'’. Anyone who doesn’t shudder at lines like 'she can be your vision of a mother, like the one you never had' needs as much therapy as Cornell appears to himself.

And yet, when the last bars of the soft rock ballad finale, ''Roads We Choose'', rattle to a close, you feel compelled to have another listen. It’s like a drug you can’t kick. No wonder he’s faced some personality conflicts. Carry On causes enough in the listener to last anyone a lifetime.

- Chris Long, BBC Music

Manchester Evening News (UK)

Chris Cornell - Carry On

With his mane of jet black curls and distinctive rock voice, Soundgarden frontman Chris Cornell was, despite not having quite the wider profile of Vedder or Cobain, the coolest figure in the Seattle grunge scene of the early '90s.

But since those glory days his career has arguably been steady rather than stellar – though Audioslave fans may disagree with this contention. The hair’s a lot shorter now too.

Reviewing the album’s decent but unspectacular second single ‘Arms Around Your Love’ last week, I expressed hope that the album might be a worthy showcase for Cornell’s undoubted vocal talent. And it’s pleasing to report that there is much to like here.

Opener No Such Thing raises hopes with an effective slow-building combination of quiet verses and rock out choruses led by Cornell’s rarely matched voice, while Poison Eye threatens to similarly hit the heights only to be let down at the crunch by a criminally tuneless guitar solo, unusual on an album where the musical backing is otherwise consistently strong.

She’ll Never Be Your Man is an uptempo bluesy workout with duelling piano and slide guitar and album standout Killing Birds is a mellow yet threatening song driven along by a chugging bassline and vocals which recall Cornell’s work on the incredible Temple Of The Dog album fifteen or so years ago.

And in a bold attempt to cover the almost-uncoverable, Cornell takes on Michael Jackson’s Billie Jean and turns it into a Nick Cave style murder ballad, slow and doom-ridden. The result is strangely powerful, and though it doesn’t manage to banish thoughts of the original in the listener’s mind it’s still a worthy try.

Carry On is a diverse affair between the rock histrionics of Cornell’s Soundgarden and Audioslave days and the mellower grooves of his work in Temple Of The Dog and previous solo album Euphoria Morning, while also throwing blues and soul influences into the mix for good measure.

Possibly as a consequence of this diversity, the quality of the songs dips here and there across the album’s 62 minutes. But rock music has had relatively few singers who can bear comparison to Cornell. For me, the closest I can come to summing up his sonorous, heartfelt delivery is to describe him as the American Robert Plant.

High praise indeed, and probably blasphemy for some, but that is what holds Carry On together, and he has rarely sounded better.

3 out of 5 stars

- Nick Thompson, Manchester Evening News

IndieLondon.co.uk

Chris Cornell - Carry On

The second solo album from former Soundgarden man Chris Cornell is a really mixed offering. Occasionally good, sometimes bad and frequently just plain average, it’s a frustrating affair that never really ignites as it should.

In the 10 years since Soundgarden’s much lamented split, Cornell has moved to France, sobered up, put out a critically-acclaimed solo album and formed the supergroup Audioslave.

But he continues to be something of an enigma musically – a distinct presence (especially vocally) who continually struggles to realise his early potential. Carry On offers 16 tracks that veer from the harder edge of No Such Thing and Poison Eye to the blues of Safe And Sound via the cinematic scope of You Know My Name and the much talked about cover version of Michael Jackson’s Billie Jean.

But as that list suggests, it’s a very mixed bag. Billie Jean, in particular, stands out like a sore thumb. It’s a gritty take that strips away the dancefloor beats in favour of a slower build, almost ballad-style of lovelorn delivery.

You have to take notice of it – but you tend to scratch your head afterwards in bewilderment.

Cornell’s Bond theme, You Know My Name is also a strange offering and much maligned at the time of the release of Casino Royale. I’m all for trying something different but it needed to be harder.

Carry On is on much surer footing when it keeps things heavier. Album opener No Such Thing taps into the harder, more exhilarating edge of his Soundgarden and Audioslave days, featuring some crunching guitars and an equally emphatic set of vocals.

While Poison Eye continues the trend and suggests the album might be a blistering return to form. It’s steeped in the type of classic American rock values of bands like Pearl Jam. But the tender, more commercial nods put things on the back foot, with Arms Around Your Love a surprisingly drippy offering that’s way too sentimental. The melodies seem to be reaching for a Californian sunshine vibe but there’s something about the “lovely” chorus that grates. It’s just not in keeping with the Cornell sound.

The blues guitar of Safe And Sound is a more interesting offering that seems to be taking its cue from contemporary Eric Clapton, while making its impassioned plea for world peace. It works – just. As does She’ll Never Be Your Man, which hints at some R&B flavouring and heralds another interesting shift.

Skip the average Ghosts and you reach Killing Birds, another interesting experiment in alt-rock that finds Cornell resembling Eddie Vedder. It’s a slow-builder of epic scope that gets better with repeat listening.

But then you have to wait until Silence The Voices for the album to really catch your attention again – another epic slow-builder that emerges as a potential anthem for fans to embrace.

Cornell says of the album that he wanted to really stretch himself and experiment – and there’s plenty of evidence of him doing so.

But while the strength of its ambition is beyond doubt and it draws on some excellent talent – including jazz bassist Miles Mosley and legendary guitarists Gary Lucas and Brian Ray – there’s just a nagging sense that Carry On should have been a great deal better. Perhaps Cornell is still haunted by his past success…

Download picks: No Such Thing, Poison Eye, Safe And Sound, Killing Birds, Silence The Voices, She’ll Never Be Your Man

Rating: 2.5 out of 5

- Jack Foley, IndieLondon

The Sunday Times (UK)

Chris Cornell, Carry On

Given that he has fought depression and alcoholism, the former Soundgarden and Audioslave singer could have been expected to produce a more involved and involving set of songs than the 14 (including his recent Bond theme and a workaday cover of Billie Jean) that make up his second solo album.

For all that No Such Thing deals with suicide and Arms Around Your Love with paranoia and possessiveness, sonically, Cornell’s new material is frustratingly bland. Too often, it settles back into musical predictability and relies on his extraordinary, sandpapered singing to carry the weight. Flitting between songs aimed at fans of his former bands and those that flirt with a more mainstream appeal, Carry On fails to convince at either.

2.5 out of 5 stars

-Dan Cairns, The Sunday Times

Scotland On Sunday (UK)

RELEASE OF THE WEEK

CHRIS CORNELL Carry On

Rating: ***

Having written and performed the theme to the latest Bond film, Casino Royale, the pertinently titled You Know My Name, it was obvious the time was right for Cornell to resume the solo career put on hold when he agreed to front Audioslave.

The rest of that band have returned to Rage Against The Machine, presumably to rake in the revenue that reunions tend to generate. Now Cornell has finally jettisoned all that Seattle grunge-laden baggage, he is free to explore exciting new musical territory. At least that’s the idea.

Then again, if it ain’t broke, why fix it? Rather than going in for wholesale changes to the riff-driven success Cornell enjoyed with Temple Of The Dog, Soundgarden and Audioslave, instead there is a tweak here, a cute key change there, all drifting surreptitiously towards the mainstream without getting submerged in it.

Arms Around Your Love is the most obvious example, a well-crafted rock-out pop song that updates the post-Faces feel of Rod Stewart.

While Cornell probably does not aspire to the faintly embarrassing karaoke turn that the great ‘Jockney’ has become, he surely covets the longevity of his career.

There is nothing boasting the rhythmic urgency of Spoonman (from Cornell’s Soundgarden days) or the dark foreboding of Black Hole Sun, but the bluesy menace and intriguing role reversal in the lyric of ‘She'll Never Be Your Man’ is, thankfully, no less compelling.

Download these: Scar On The Sky, She'll Never Be Your Man

- COLIN SOMERVILLE, Scotland On Sunday

The Times (UK)

Chris Cornell

Carry On

3 out of 5

Cornell's second solo album is as rugged a record as you would expect from the former singer of the grunge chestbeaters Soundgarden and Audioslave.

His hulking voice makes it sound like he is tearing telephone directories in half while singing, whether on the expansively cosmic Scar On The Sky, the almost poppy Your Soul Today or an anguished cover of Billie Jean.

Cornell is clearly a master of his MTV-rock genre - Silence The Voices and Finally Forever show some emotional and musical subtleties - but after 16 tracks , all of which could be described as "impassioned", you could go without hearing another guitar crash or earnest vocal clench for quite some time.

- Victoria Segal, The Times (print edition)

This Is Fake DIY.co.uk

Chris Cornell - Arms Around Your Love

Rating: 2.5/5

Chris Cornell has a formidable musical CV, and after having fronted two huge rock bands, he's now releasing his second solo album, 'Carry On'. The first track taken from it, 'Arms Around Your Love' is a refreshing change to the predictable power-rock of his previous output. However, his gravelly voice wobbles slightly upon the opening of the song, and this mid-tempo ballad stutters upon its own lack of passion.

This is inoffensive, part-acoustic soft rock fare. He may sing with seemingly genuine feeling, but while it's pleasant, it's not different or diverting enough to be worthy of note.

- Stuart McCaighy, ThisIsFakeDIY

The Sunday Paper, Atlanta, GA, USA

CHRIS CORNELL: Carry On

The second solo album from the former Soundgarden and Audioslave frontman is called "Carry On," and that's exactly what he does.

The disc covers the different facets of Cornell's musical personality, ranging from familiar guitar rock-outs ("No Such Thing") to the widescreen scope of "You Know My Name," the theme to last year's James Bond revamp "Casino Royale."

Along the way, the greatest living screamer in rock dials down his leonine roar, letting the honeyed edges of his voice carry the freight on "Arms Around Your Love," which sounds engineered for mainstream radio appeal, and lend an air of poignant gravitas to a stripped-down cover of Michael Jackson's "Billie Jean."

Elsewhere on the disc, he wanders down the back roads of country for the soulful, slightly bluesy "Safe and Sound" and the steel guitar-driven "Finally Forever."

- Kevin Forest Moreau, The Sunday Paper

Uncut, UK

Underwhelming Solo Shot from Soundgarden Screecher

Cornell has spent a long career searching for material to do justice to his formidable vocals, with intermittent joy. Soundgarden and Audioslave both complemented his throaty Gillan-esque roar only occasionally.

The poppy metal of "Carry On" comprises another entry in Cornell’s catalogue of partial successes. There is one tremendous high point - his superb Bond theme, “You Know My Name”, co-written with David Arnold.

There is one jaw-dropping nadir - a baffling reading of Michael Jackson’s “Billie Jean”. In between, there’s a lot of in-between.

- ANDREW MUELLER, Uncut Magazine

In the News, UK

Chris Cornell: Carry On

In a nutshell… The name's Cornell, Chris Cornell.

What's it all about? Cornell is famed for his unique gravelly voice and he is still hitting the right notes on this album. A few tracks reminiscent of Audioslave's Cochise or Soundgarden's Spoonman would have been welcomed but the man who lent his voice to the soundtrack of the latest Bond franchise is getting on a bit now at 42.

No Such Thing begins with a meaty riff that seemingly announces Cornell's intentions and when Cornell bursts into the chorus, the hairs stand up on the back of your neck; such is his vocal dexterity.

Poison Eye follows on from the opening track in terms of offering an infectious hook and this is a typical toe-tapper. Cornell is at his best on this type of track when he is posturing to high tempo rock and roll.

Ballads then become flavour of the month as the album's lead single a distorted, reflective Arms Around Your Love kicks in, followed by the smooth She'll Never Be Your Man.

A stripped down, basic cover version of Michael Jackson's Billie Jean is ambitious but just fails to hit the right notes. Top marks for the attempt though.

Casino Royale track You Know My Name is classic Cornell, all talk of dying and other morbid masculine angst as is his forte

Who's it by? Soundgarden were one of the pioneers of grunge and formed back in 1984 in Seattle. They began to see success in the 90s when Pearl Jam and Nirvana hit the big time.

1994’s Superunknown was the critically acclaimed album that launched Soundgarden into the big league and spawned such classics as Black Hole Sun and Spoonman.

When the band parted ways in 1997, Cornell decided to go it alone and released Euphoria Morning two years later.

The supergroup Audioslave was created in 2001 along with three of the members of Rage Against the Machine and enjoyed success with their three albums before calling it a day in February of this year.

Cornell has fought off depression and alcoholism in the past and his new album probably eclipses his first solo effort but certainly doesn't match up to previous output with Soundgarden.

As an example… "Arm yourself because no one else here will save you / The odds will betray you / And I will replace you." - You Know My Name

Likelihood of a trip to the Grammys Although there are a few decent tracks here, on a 16-song album that just won't cut the mustard and so in short, there is no chance of a trip to the Grammys for this former Grammy winner.

So is it any good? By far the best track on the album is the Bond theme You Know My Name. It is what the rest of the album should be but isn't - raw, beguiling and effortlessly cool. Cornell seems to be enjoying himself on this well-produced track.

The best of the rest on Carry On include No Such Thing, which is perhaps a little lyrically naive but is a stomping rock song all the same.

Poison Eye is a