Oh yeah, there are some great tracks on there. I liked all the singles. Ty Cobb too.
I love it, frequently think it’s my favourite of theirs. I was too young to be around for the initial disappointment.
Big fan of this song
It’s an amazing album that doesn’t get enough credit. In my experience a lot of people dismiss it for being too commercial, which never made any sense to me. It has great, great singles that are mixed in with more experimental atmospheric songs and bursts of energy. It feels almost like a miniature double album, especially with the way Applebite completely changes the tone of things and then slams right into Never the Machine Forever. There isn’t a single dud on the album.
Since it’s never mentioned, I’ll use this opportunity to point out that “An Unkind” is a great song.
Do yourselves a favor and don’t read internet comments on the news articles about this. It’s 2017 and there are still way too many “HOW SELFISH” comments, it’s infuriating.
This is just an especially sad, tragic loss. Waking up to it yesterday was so surreal, it seemed to come out of nowhere. Everything I’ve heard about him paints him as a great guy, and of course one of the most talented people in rock history. That voice is one that you can only be born with, and his music was incredible, especially that flawless run from Temple of the Dog through Euphoria Morning.
I’m not sure who in the band was primarily responsible, but I’ve never heard a band use time signatures so effectively and effortlessly. More often than not with other bands it feels forced or unnecessary or even a gimmick to some degree, but with them it was like they were writing from a completely different spectrum that other bands couldn’t access.
Also, just wanted to point out how amazing the ending sequence of Superunknown is. One of the best ever. I was surprised and glad to see some others mention Fresh Tendrils as their best song, I completely agree.
And the Slaves and Bulldozers vocal performance, unbelievable. I can’t imagine anyone else coming even close to pulling that off, especially while channeling the emotion that he did.
I haven’t listened to Euphoria Morning in a long time, which I should probably fix today, I loved it when it came out. As someone else said, Follow My Way is an incredible song.
Such a sad loss. Depression sucks.
Man, the outro to My Wave where the circular guitar riff, the bass, the drums and the vocals all sound like they’re in different time signatures but it somehow all hangs together and is totally, totally rad.
I will definitely stick up for DOTU. I loved it. ‘Pretty Noose’ and ‘Burden’ were good, but the real meat of the album for me was always the run of ‘Tighter and Tighter’ through to ‘Overfloater’.
Particularly ‘Switch Opens’ which I absolutely love zoning out to.
Absolutely gutted about this news. An unparalleled voice has been lost. We’ll not hear his like again. Damn that man could SING.
Soundgarden were a gateway band for me, through to a larger (and louder) world. I first heard them on a free CD that came with Q magazine back in '94. That one CD introduced me to so many amazing bands and my music tastes evolved so rapidly after that (it also got me into Massive Attack, Future Sound of London, Oasis, Pulp, Grant Lee Buffalo and Manic Street Preachers!)
It was ‘Day I Tried to Live’ on there and it had the right balance of quiet to loud to win me over back in the days when I mostly listened to safe-ish pop music. And Chris’ voice was just obviously fucking phenomenal. That led me on to Superunknown, which was basically like just like kicking my silly brain in. Changed forever.
I loved Soundgarden before I loved Nirvana or the Pumpkins or Pearl Jam or any of that lot. They were one of the first bands I got into that just had fucking BALLS.
And also one of the best lead vocalists ever. What a voice.
RIP good sir, you will be much missed.
DOTU was the first album of theirs I owned (though my mom had a copy of Superunknown). Could may be stand to lose a few tracks (which is true of most of Soundgarden’s output), but is otherwise still good.
for some reason, I’ve never been able to get that into Badmotorfinger. I relistened to it a few days prior to Chris’ death and I felt like every track was about 2 minutes longer than it should be.
Hands All Over
It’s about that for me right now, drinking white wine and finally… stuff
I still can’t get my head around the time signature in that outro, 27 years later. It’s amazing!
Ha. I mean 23 years later.
Here’s the WTF episode, in case anyone hasn’t heard it -
Actually, here it is -
Might as well give this a shot then, tune your music systems to…
#Screaming Life / Fopp
So this is a compilation album of two early EPs, Screaming Life (1987) and Fopp (1988). While it technically only came out after 1989’s Louder Than Love, it’s probably best to begin here to get that authentic sound. Cornell’s voice seems almost fully formed from the moment you put the record on, and while Kim Thayil, Matt Cameron and Hiro Yamamoto go on to bigger heights later, their potential is easy to hear.
Apparently Hunted Down was Sub Pop’s hold music, and the only single released from Screaming Life. The cover of that EP features a photo by Charles Peterson who would go on to chronicle the rise of grunge with his black and white photos. Fopp was an EP with 2 and a half covers, most notable just for demonstrating that Soundgarden weren’t your garden-variety metal band, instead drawing influences from all over the place. This compilation was remastered in 2013 and some bonus tracks are available, but I’ve ignored them now.
- Hunted Down
- Tears to Forget
- Nothing to Say
- Little Joe
- Hand of God
- Fopp [Ohio Players cover]
- Fopp (Fucked Up Heavy Dub Mix)
- Kingdom Of Come
- Swallow My Pride [Green River cover]
What they say
“Screaming Life/Fopp is music that seemed to want to save hair-metal, not do away with it. And in that sense, it’s a halting, hesitant half-triumph.” Pitchfork
“Screaming Life speaks of a band finding its way through a mire of colliding ideas and sounds that would all eventually become quintessential to the group’s sound.” Consequence of Sound
“Somewhere between their metal roots and the full articulation of the sound they’d realize shortly, Screaming Life is rooted firmly in generic post-Sabbath riffery and Chris Cornell’s absent-minded howling. Suffering from equally generic production, much of the album comes off as listless or stifled, even though hints of future greatness peek through at times.” AllMusic
Interested to hear what the people of DiS think…
so listening to this now…agree Cornell’s vocals are the most fully formed part of the sound, he sounds way beyond his 23? years! Pretty heavy riffing, nothing groundbreaking there but there’s definitely already a sludginess to their sound
hadn’t heard this in it’s entirety before and enjoyed it overall although only hints at what they would go on to create. Favourite track would probably have to be ‘Nothing to Say’. There is a real blend of styles going on here and the scatter gun approach to experimenting with these styles makes it hard to follow as an album, but all in all a solid start to a discography
That was the first CD I ever owned. I got it on import from HMV because it wasn’t available on vinyl. I had to buy my first ever CD player to be able to play it.
I’m just so impressed by that run of songs from Hunted Down to Nothing to Say. Most of Fopp is just a bit rubbish, but Screaming Life is a perfectly decent grunge mini-album in itself.
I do think the lyrics are a bit weak across the board, but I’ve been wondering which CC lyrics I really like and he basically doesn’t get that good at them imo until Badmotorfinger