Chris Cornell on Music

"SeattleSound - everything about grunge music"

"Chris Cornell Lyrics"

"The rest of the band thought it was silly of the press to concentrate on the beefcake when I was writing songs, singing, and playing guitar for the band. Even now, some people will stick a paragraph about my hair in the body of a review."

"That was a very moving and poignant experience. We didn’t say much about it beforehand, and we didn’t say much about it afterward, because we thought the music said enough. I wanted to do ‘Boot Camp’, because that was my favorite song on ‘Down On The Upside’, so I went and learned it, but the thing with Chris is, he would tune the guitar to his voice, so it’s kinda complicated to learn from following YouTube!"

"That shit's really depressing to me. I couldn't watch it. You can't expect to live in some utopia where everybody plays music you like, but it's gotten to the point where noone's playing music you like—at least that's being presented on television... The music channels don't even show much music anymore. They're more interested in documentaries. They're going to start doing documentaries about David Crosby's dog pretty soon."

"I have two brothers, one of them was older, he was the guy I thought was the coolest person on earth. I was a little guy and he would beat the shit out of anybody who would fuck with me and sometimes I had to actually beg him not to beat someone up just in case I ran into that person when he wasn't around... He also introduced me to a lot of music and he's a singer-songwriter as well, I'm going to bring him out. This is my brother Peter!"

"He’s one of the greatest artists and songwriters of all time, not only in my small town, but worldwide, and that always made me really proud. He set an example of how to do shit and set an example of what not to do, and I respected that, too. Chris had a part in steering a direction there; you don’t need this shit, you don’t need miscellaneous bullshit – you need the music. He was a very deep and emotional writer, and I feel like I have an affinity with writers like Chris. He didn’t pull any fucking punches at all and that’s never been my style, either."

"Right after Andy died, we went to Europe, and it was horrible, because I couldn't talk about it, and there was no one who had loved him around. I wrote two songs, "Reach Down" and "Say Hello 2 Heaven". That was pretty much how I dealt with it. When we came back, I recorded them right away. They seemed different from what Soundgarden naturally does, and they seemed to fit together. They seemed like music he would like. I got the idea to release them as a single, and to get at least Stone and Jeff, or all of Love Bone, to play on it. I had the idea for a couple days, then, with an artist's lack of self-confidence, I decided it was a stupid idea. Somehow those guys heard the tape, and they were really, really excited. Stone and Jeff and our drummer, Matt, had been working on a demo for what ended up being Pearl Jam, so we had the idea that we would make an EP or a record, and maybe even do some of Andy's solo songs."

"It’s that weird magic of if you sing a song you’re connecting to emotionally, it's going to trick me into feeling my emotions. I'm not feeling your , I don't know what happened to you, but you have just tricked me into feeling my own pain and my own emotions and that is an amazing thing. That's this miraculous thing about music. Film can do it too, art can do it, but music does it great. That’s where making an album like this is exciting and special. The downside is you pretty much have to do it on every song. You don’t get a free pass unless you write a joke song, which I'm not good at. If I wrote like the ballad ‘Rocky Raccoon’ or something I could get away from it for a second. A song about a raccoon that gets in a gun fight."

"I always had a knack for it . I bought a drum kit for like 50 bucks, and within three weeks I was in a band. Not only was I in a band, but people were saying that I was really good. Being someone with a short attention span who didn't have much patience for anything, that was great, 'cause it didn't take much. I could just sit down and do it instantly. I could play a basic rock beat right away, so it didn't require much patience, and that's probably why I ended up doing it. As I got some of the rewards for it, it fueled me to want to be better. Then the rewards thing gets old, and what you really want is to be good and understand it, 'cause you're so enthused by it. That's what got me into all the other instruments and songwriting and singing."

"I’ve always said that Chris was the greatest songwriter to ever come out of Seattle. Jimi Hendrix could play the guitar like crazy, but Chris had the song-writing chops that we all sort of hoped to get to at different points in our songwriting careers. He had a way he could wrap a melody around odd time signatures and weird parts and make them catchy. He was a beautiful wordsmith. If you look at his lyrics, he obviously was processing his pain and depression, and all of those things. I think that’s part of what people, myself included, responded to when he was singing. With the songwriting he had that voice, there’s not too many people that have that many options with their voice. He could do a lot of different things with it, and have a lot of different characters in that voice. I feel so lucky that I got to be in a project with him, got to hang out with him, and just sort of witness his greatness."