Euphoria Morning
Chris Cornell
As far back as Soundgarden's "Badmotorfinger" and all that Temple of the Dog claptrap, it was easy to tell that a hyper-melodious softy lurked beneath Chris Cornell's tough-guy veneer. Check back to "Seasons," the overwhelming solo acoustic number he gave to the "Singles" soundtrack. It was clear then that Cornell was far and away the best pop singer to emerge from the grunge revolution, one infallibly capable of finding the sentimentality amid the anger and irony. Indeed, Cornell's greatest achievement fronting Soundgarden was bringing a tenderness to his band's raw approach that never betrayed such galvanizing loudness. So it should come as no surprise that Cornell's excellent solo debut, "Euphoria Morning," is overflowing with bittersweet tunes that favor beauty of expression over raw power. How that will play with die-hard 'Garden nuts is hard to say. A song such as
To Venus and Back
Tori Amos
The uniquely quirky singer has said that this, her fifth album and first double-disc package (one disc is live), was supposed to be a B-sides collection, which would have helped her fans save a pretty penny. But then her muse just happened to drop by. And she couldn't resist another batch of new material. Perhaps she should have. "To Venus and Back" seems aimlessly experimental and tossed together, lacking the inspiration and emotional depth that made last year's "From the Choirgirl Hotel" Amos' best effort since her landmark debut. For every sonic advancement (the moody funk of "Juarez," the snappy groove of "Bliss") and lyrical swirl (and she's at her strongest here on incisive criticisms like "Glory of the '80s" and "Riot Proof"), there are as many marginal ditties that merely repeat what she has perfected. The lengthy "Datura," for instance, builds on a piano figure that the artist seems to regurgitate for every album. That said, "Venus" has some sterling moments that no Tori-phile should be without -- chiefly, the studio disc's majestic closer, "1000 Oceans," possibly the most moving ballad she's put down since "Silent All These Years." The live disc, though it showcases the full sound she achieved touring last year with a full band, is amusing but nothing extraordinary, given Amos' wont of filling her singles with similar live cuts. A roaring "Precious Things" and a surprisingly strong "Space Dog" stand out, as does the previously unreleased "Cooling." But overall it's for die-hards only.
In Spite of Ourselves
John Prine
Who would have thought that John Prine, one of the greatest and most distinctive country songwriters, would make an album of covers (OK, there's one original) and that it would be so full of everything that's wonderful about country music? Further, who would have thought that Prine, whose voice has always sounded weathered, would sound so good with a bunch of women singers? "In Spite of Ourselves" features duets with nine different women from the full spectrum of country music: alt-icons Lucinda Williams and Emmylou Harris, golden oldies Connie Smith and Melba Montgomery, and Nashville mainstreamer Trisha Yearwood, among others. But it's the four songs with Iris DeMent, whose own quirks complement Prine's perfectly, that really set the tone for the album. "In Spite of Ourselves" is an inspired album, one of the best of Prine's long career. It's a tribute to him that he makes each of the 15 covers sound like a John Prine song; and it's evidence of the regard he is held in by his peers that so many great singers jumped at the chance to join him for this one.
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