Chris Cornell’s Bond theme (You Know My Name from Casino Royale) is quite the best of the three Daniel Craig-era theme songs so far and brought him to an audience who never heard Soundgarden or the skyscraping vocals of Cornell’s youth (seriously, Slaves & Bulldozers. Go listen to it. There’s nothing like it. It’s a tour de force. Cornell does everything with his voice that a rock singer can, from Kurt Cobain shrieking to Bruce Dickinson wailing). But perhaps even You Know My Name won’t be Chris Cornell the solo artist’s legacy track.
A little over two years ago, a film came out called Seeking a Friend for the End of the World, starring Steve Carell and Keira Knightley – a spectacularly miscast pair, given Knightley’s lack of comedic talent and the 23-year age gap between the two, which is just creepy (recalling the days when Hollywood thought nothing of casting Grace Kelly opposite Bing Crosby in High Society). Its plot was based on a little-known song from Cornell’s forgotten solo debut, Euphoria Morning, called Preaching the End of the World.
It is, by Cornell standards, a subdued piece. The first time I heard it (courtesy of Mel) I didn’t even recognise him singing until he started doing that Chris Cornell thing in the choruses; it might actually have been nicer if he’d sung the whole song in the soft, sad quasi-falsetto voice in which he begins the verses. Sadsackery suits him.
Soundgarden songs were notable for eschewing simplicity. They tended to be structurally knotty, with odd time signatures and counterintuitive feels. Preaching the End of the World takes Cornell’s love of stretching out musically within the context of a tight, through-composed pop song and applies it to harmony rather than rhythm. It’s a treat for fans of a good chord change. I rather like the Bmin7b5 in the verse under the line ‘Feeling the same way as me’ and the diminished seventh chord formed by raising the bass note of a standard D7 shape a semi-tone under the words ‘feeling just the same’ near the end of the bridge. The C6 in the chorus under ‘You can’t hide’ is pretty sweet too. When did Cornell learn all these Beatles-play-Gershwin chord changes? It’s impressive.
But the really impressive thing is the amount of pathos Cornell wrings out of his goofy sci-fi premise. The lyric has to establish character and premise, and make us care. It succeeds on all three fronts, in four and half minutes, rendering the film it inspired unnecessary.
One of my own recent recordings