so counting the 5's is the only way I can come up with to avoid an awkward bar with no downbeat
― i don't even have an internet (Hurting 2), Tuesday, 2 July 2013 16:43 (ten years ago) link
OK, I listened a few times on headphones now. Basically, as I suspected, the guitars and bass do what I said and the drums do what you said, which is what gives this section its rhythmic tension. (You're a drummer, right?) In the 5/4 measures of your analysis, you're hearing the snare hit on beat 3? If I were transcribing the guitar or bass part, I'd probably notate it like I said originally. If I were transcribing a full band arrangement, I might do it your way and write in syncopations in the guitar and bass parts to avoid having to notate shifting accents in the drum line.
― EveningStar (Sund4r), Tuesday, 2 July 2013 20:28 (ten years ago) link
In the 5/4 measures of your analysis, you're hearing the snare hit on beat 3?
Actually, no. I'm not that experienced with analysing/transcribing drum parts, tbh, but I'm not sure I'm hearing a consistent 5-beat pattern for 2 bars at the end of this phrase.
Basically, I'm hearing something closer to this in the drums:Three bars of 3/4 with the hit on 12 bars of 3/4 with a hit (or accent) on the & of 2 (different from the previous beat but still a 3-beat pattern)a bar of 4/4 with the hit/accent on 3 (non-standard but with the riff, this really does feel like a bar of 4 to me)
I'll be honest, though: the riff really feels like the predominant element here so it may be distracting me from what's really going on in the drums.
― EveningStar (Sund4r), Tuesday, 2 July 2013 20:58 (ten years ago) link
The drums and guitars are accenting the same beats pretty much all the time, so just assume I am focusing on the riff. There are three bars of three where the hits are like this:
1-2-AND-3 1-2-AND-3 1-2-AND-3
After that you could count a fourth bar of three with accents on all three downbeats (1 2 3), but then the problem is that makes the next bar accent on the "and" of 1 which is very awkward (no downbeat). So instead I'm thinking of that fourth bar as a bar of five. I agree that that makes the last bar of five not really feel like a bar of five. Maybe it makes more sense to think of it as 3 - 3 - 3 - 5 - 3 - 2
― i don't even have an internet (Hurting 2), Tuesday, 2 July 2013 21:10 (ten years ago) link
Oh, I can hear that.
― EveningStar (Sund4r), Tuesday, 2 July 2013 22:18 (ten years ago) link
'outshined' is the most recent good song to get played on rock radio
― i wanna be a gabbneb baby (Hungry4Ass), Wednesday, 3 July 2013 04:59 (ten years ago) link
haha i love this time signature convo
i totally believe that thayil and some other members of the band were only dimly aware of what time signature they were playing in -- drummers kinda HAVE to think about that stuff but ime you can trick guitarists and bassists into playing in time signatures they would claim not to understand if you just let them find the groove.
― some dude, Wednesday, 3 July 2013 11:46 (ten years ago) link
I do remember an interview (I think Guitar magazine?) with Kim Thayil where he was actually saying that Chris was telling them how to count certain phrases.
― Neanderthal, Wednesday, 3 July 2013 11:59 (ten years ago) link
NB Chris started out as a drummer and wrote a ton of the riffs
― resulting post (rogermexico.), Wednesday, 3 July 2013 13:09 (ten years ago) link
a remaster of this could rule so hard
― j., Friday, 6 June 2014 00:59 (nine years ago) link
just louderize the shit out of it make those matt cameron drums shake the ground
― j., Friday, 6 June 2014 01:00 (nine years ago) link
i'm thinking about how massive some of the riffs would sound. in particular, Outshined and Room a Thousand Years Wide.
― charlie h, Friday, 6 June 2014 01:23 (nine years ago) link
feelin
― j., Monday, 19 October 2015 19:55 (eight years ago) link
that verse riff for "Holy Water" don't mess around
― Hammer Smashed Bagels, Monday, 19 October 2015 20:09 (eight years ago) link
MIIIIIIND RIOTTT
― please don't shampoo your eyes (stevie), Monday, 19 October 2015 20:50 (eight years ago) link
the back half of this kind of turns into an anticipation of down on the upside
― j., Wednesday, 21 October 2015 00:29 (eight years ago) link
in a way...abandons the Sabbath heavy dirge riffing and goes into some of that open string psychedelic noodling they'd do later. just think they did it better here than on the latter.
will say the Upside stuff sounded nice live tho lst year.
― Hammer Smashed Bagels, Wednesday, 21 October 2015 02:17 (eight years ago) link
yeah i tend to think of it in my head as all sabbath heavy dirge riffing b/c of beginning and 'new damage', plus other stuff i kind of just lump together as 'not anything'
― j., Wednesday, 21 October 2015 02:41 (eight years ago) link
the hammer-on/pull-off riffs in weird tunings was always one of my favorite bits they did on BMF through Upside. especially the title track to Superunknown, that main riff.
It was also hella fun to be 15 years old learning the guitar and tuning a shitty Fender Squire to their weird tunings and learning to play these songs.
― Hammer Smashed Bagels, Wednesday, 21 October 2015 02:45 (eight years ago) link
did not know they were remastering this!
It's already on Spotify
http://consequenceofsound.net/2016/10/soundgarden-announce-deluxe-reissue-of-badmotorfinger-for-25th-anniversary/
― Spottie, Monday, 28 November 2016 19:26 (seven years ago) link
7 discs and no SOMMS EP? What's up with that?
― dinnerboat, Monday, 28 November 2016 20:16 (seven years ago) link
That second CD also features the version of “New Damage” with Queen’s Brian May.
whaaaa
― orifex, Monday, 28 November 2016 20:53 (seven years ago) link
my music news pipeline has utterly failed me
― j., Monday, 12 December 2016 05:54 (seven years ago) link
it sounds good! not the revelation i would have wished, which was maybe impossible (still kind of in mark arm 'rush' territory in the drums), but the bass has more body and there's more definition and separation in the guitar parts.
― j., Monday, 12 December 2016 19:26 (seven years ago) link
the latter brings out the constant texturing and noisification they've always got going on, but it especially adds to the faster songs in the latter half, because the twistiness of the riffs is made to stand out
― j., Monday, 12 December 2016 19:43 (seven years ago) link
It will never sound better than on my 1991 cassette.
― Crushed Little Evening Stars (Sund4r), Monday, 12 December 2016 19:47 (seven years ago) link
OTMFM.
Dammit, just remembered that this is one of those albums I have to listen to anytime people start discussing it.
― The Pleasure Principal (Old Lunch), Monday, 12 December 2016 19:58 (seven years ago) link
― charlie h, Thursday, June 5, 2014 8:23 PM (two years ago)
oddly, it's the buzzing thayil (i assume that's him) drone under the verses on 'room' that stands out for me—the weirdness of it definitely seems accentuated
― j., Monday, 12 December 2016 19:58 (seven years ago) link
Slaves and Bulldozers is still my fuckin fav
― Neanderthal, Monday, 12 December 2016 23:45 (seven years ago) link
man I haven't listened to this since I had it on tape when it was new
still pretty fuckin good
― though she denies it to the press, (Joan Crawford Loves Chachi), Tuesday, 13 December 2016 16:46 (seven years ago) link
This album will always rule, IMO. I'd love to have been in the rehearsal room when they were learning how to play 'Face Pollution' ... the second half of that track is still one of my favourite Soundgarden moments.
― Working night & day, I tried to stay awake... (Turrican), Tuesday, 13 December 2016 18:20 (seven years ago) link
I had this album on really poorly pressed vinyl back in the day and was never sure all the tricky changes in Face Pollution weren't my needle skipping
― Herpes Bizarre (stevie), Tuesday, 13 December 2016 19:50 (seven years ago) link
hard to imagine that this and use your illusion came out in the same month
― j., Saturday, 12 May 2018 01:33 (five years ago) link
hmm I guess use your illusion wasOUTSHINEDOUTSHINEDOUTSHINED
― niels, Saturday, 12 May 2018 09:46 (five years ago) link
https://www.theguardian.com/music/2017/may/18/chris-cornell-soundgarden-audioslave-dead-aged-52
But there’s no doubt that Nirvana’s success propelled them to new heights of popularity, aided by the fact that Soundgarden’s breakthrough album Badmotorfinger, was clearly their most focused and commercial to date. But Soundgarden’s oft-reviled willingness to court a mainstream rock audience – “Fuck, you sound like Rush,” offered Mudhoney’s Mark Arm disparagingly on hearing Badmotorfinger – was always balanced by a certain strangeness and desire to experiment.
― j., Saturday, 11 January 2020 00:00 (four years ago) link
From the interview Ned posted:
Regarding your own playing, some people I’ve spoken to feel that Rush’s last two albums were more commercial than usual. Was that on purpose? NP: Well, if we were trying to be commercial, we failed.
NP: Well, if we were trying to be commercial, we failed.
― Josh in Chicago, Saturday, 11 January 2020 05:24 (four years ago) link
this album fucking rules, start to finish
― the public eating of beans (Sparkle Motion), Saturday, 11 January 2020 15:36 (four years ago) link
yes
― american bradass (BradNelson), Saturday, 11 January 2020 15:38 (four years ago) link
love that every song got a vote
― american bradass (BradNelson), Saturday, 11 January 2020 15:39 (four years ago) link
This is the only Soundgarden album I ever put on.
― Josh in Chicago, Saturday, 11 January 2020 15:39 (four years ago) link
I got to see Johnny Cash play around the time of the second American album. It was right after Soundgarden broke up, and I vividly remember him introducing "Rusty Cage" is his trademark baritone. "I sure hope those boys get back together again."
― Josh in Chicago, Saturday, 11 January 2020 15:41 (four years ago) link
30 years old!
― Sequel to Sadness (Sund4r), Friday, 8 October 2021 13:08 (two years ago) link
now i know why you've been taken
― STOCK FIST-PUMPER BRAD (BradNelson), Friday, 8 October 2021 13:29 (two years ago) link
Slaves and Bulldozers is the fuckin best
― Gardyloominati (Neanderthal), Friday, 8 October 2021 14:36 (two years ago) link
This album has aged really well.
― Josh in Chicago, Friday, 8 October 2021 15:03 (two years ago) link
otm
― grove street (party) direction (voodoo chili), Friday, 8 October 2021 15:23 (two years ago) link
NOW I KNOW WHEN YOUVE BEEN TAKEN
― brimstead, Friday, 8 October 2021 15:30 (two years ago) link
why
― Gardyloominati (Neanderthal), Friday, October 8, 2021 7:36 AM (one hour ago) bookmarkflaglink
best cornell vocal performance?
― um, i mean... im sure weve all seen the videos, so... that will help (Spottie), Friday, 8 October 2021 15:58 (two years ago) link
So many tropes of the Mainstream Rock Format come together here - drop D, jagged time signatures, over-the-top self pity and self aggrandizement, but yeah, it has so much going on and such sly humor it has really aged well. It's not brickwall compressed, so it does sound like four guys in a room, which helps. Secret weapon: horns.
― Citole Country (bendy), Friday, 8 October 2021 17:10 (two years ago) link