The recording studio has long been recognized as an ideal collaborative environment for artists. While many strive to realize their creative visions once the tape starts rolling, collaboration often proves essential for bouncing ideas around and gauging the direction of the project. Despite having the talent to produce great albums outside of Soundgarden, Chris Cornell confessed that he had no desire to touch a guitar when he joined Audioslave.
After all, did fans really need Cornell to play guitar on every Soundgarden hit? His electric guitar work was undeniably distinctive, but with his Robert Plant-like wail, listeners weren’t exactly tuning in for guitar solos reminiscent of Eddie Van Halen.
This preference reflected the ethos of the grunge scene from which he emerged. The Seattle sound sought to move away from the precise musicianship that characterized the hair metal movement, opting instead for an aesthetic more aligned with punk rock bands like the Sex Pistols and the Dead Kennedys rather than acts like Def Leppard.
As Soundgarden achieved success with albums like Superunknown, the landscape began shifting, thanks in part to Rage Against the Machine. While many guitarists sought to innovate, no one embraced that notion more than Tom Morello, who eschewed traditional solos for sounds that resembled alien communications.
As the band evolved, Cornell believed that collaborating with the non-Zack de la Rocha members would be the best path forward. During the creative process for songs like “Like A Stone” and “Cochise,” Cornell established a clear guideline: no guitar for him.
Morello recalled Cornell expressing his desire not to play guitar, stating, “He wanted to just sing. He wanted to be a lyricist and singer and be free of the songwriting part. Which was great because we had a lot of great ideas. He didn’t want to play guitar. He wanted to sing. He was like, ‘Show me some music,’ and for us, it was great.”
It’s also possible that Cornell’s decision was pragmatic. Sitting next to one of the most innovative guitarists ever, he recognized that any unusual riff he contributed would ultimately serve the unique creations coming from Morello’s whammy pedal and unconventional sound techniques.
Ultimately, it seems fitting that Cornell focused solely on vocals. While he occasionally alternated between singing and playing guitar during his Soundgarden days, this was an opportunity for him to fully embrace his role as a frontman. Though Audioslave’s sound differed from the eccentricities of Soundgarden, the combination of Morello’s guitar work and the solid rhythm section of Brad Wilk and Tim Commerford provided a fresh palette for exploration.
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