In your Jesus Christ POLL: BADMOTORFINGER

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.

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.

NB Chris started out as a drummer and wrote a ton of the riffs

a remaster of this could rule so hard

just louderize the shit out of it make those matt cameron drums shake the ground

i'm thinking about how massive some of the riffs would sound. in particular, Outshined and Room a Thousand Years Wide.

feelin

that verse riff for "Holy Water" don't mess around

MIIIIIIND RIOTTT

the back half of this kind of turns into an anticipation of down on the upside

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.

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'

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.

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/

7 discs and no SOMMS EP? What's up with that?

That second CD also features the version of “New Damage” with Queen’s Brian May.

whaaaa

my music news pipeline has utterly failed me

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.

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

It will never sound better than on my 1991 cassette.

OTMFM.

Dammit, just remembered that this is one of those albums I have to listen to anytime people start discussing it.

i'm thinking about how massive some of the riffs would sound. in particular, Outshined and Room a Thousand Years Wide.

― 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

Slaves and Bulldozers is still my fuckin fav

man I haven't listened to this since I had it on tape when it was new

still pretty fuckin good

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.

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

hard to imagine that this and use your illusion came out in the same month

hmm I guess use your illusion was
OUTSHINED
OUTSHINED
OUTSHINED

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.

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.

this album fucking rules, start to finish

yes

love that every song got a vote

This is the only Soundgarden album I ever put on.

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."

30 years old!

now i know why you've been taken

Slaves and Bulldozers is the fuckin best

This album has aged really well.

otm

NOW I KNOW WHEN YOUVE BEEN TAKEN

why

Slaves and Bulldozers is the fuckin best

― Gardyloominati (Neanderthal), Friday, October 8, 2021 7:36 AM (one hour ago) bookmarkflaglink

best cornell vocal performance?

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.

While I don't like this album quite as much as "Superunknown", I will say that "Outshined" is among their best songs.

the highs are HIGH

i much prefer this to superunknown but idk, i guess i formed that opinion when i was 14 and have stuck by it without really revisiting

yeah same but in reverse

(but i have revisited)

the devil says
aaaaaaaaaaaaaaaaaaAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA