From: somms@mit.edu To: somms-digest@mit.edu Subject: Soundgarden Digest, Monday, 3 Jun 1996 Reply-To: somms@mit.edu Date: Mon, 03 Jun 1996 02:34:40 EDT Sender: saperl The Soundgarden Digest: Monday, 3 Jun 1996 listadmin: saperl@mit.edu list archive: http://www.sgi.net/soundgarden/archive/ TO UNSUBSCRIBE: email saperl@mit.edu Today's Topics: Re: somms for $20.00? free cd Everclear Stickers and fanclubs and big words. RE: free cd identitty more junk Re: Everclear hi.. Re: Soundgarden Digest, Sunday, 2 Jun 1996 ATN, issue 2.06: DOTU review Another review on the Net SOMMS (what else...) An article(long! Don't read if you have a short-spanned attention!) linwood's my favourite stop... Re: more junk ultramega long post... sunspots have faded... Re: ultramega long post... Clown's post about music and SG... Like Acoustic vs. Electric sg and "burden" and stuff..... also r.e.m. lolla -- help wanted ------------------------------------------------------------ From: Eric Gardner Subject: Re: somms for $20.00? Well, that almost makes $50 sound good. Last month one of the local dumps had 2 copies @ $50 each. Last weekend they had added 4 more copies, but the price (at least on the copy in front) was down to $40. If they continue to go unsold, maybe the price will get down to something reasonable. On Sat, 1 Jun 1996, Chris Mansfield wrote: > $80 each. > > never mind that i still don't have SOMMS but WHO DO THESE PEOPLE THINK THEY > ARE?!?! > > record stores are getting as bad as scalpers. > > ------------------------------ From: Eric Gardner Subject: free cd As I was browsing through the bargain racks at a local used cd/vinyl outlet, I was horrified to find a copy of Superunknown for $1.95. Fearing this would be bought by some mtv lemming who would only play BHS over and over and over and over and over and over and over and over, I bought it myself. So, if there is anyone on this list that doesn't have Superunknown, I'll gladly donate this one - so that it will be properly appreciated. Postage included (I steal all the stamps I need from my wife anyway, wtf...). In the unlikely event that there is more than one reply, I'll draw a name from a hat or something. Eric ------------------------------ From: Joco Agostinho Subject: Everclear Hi guys! Just heard a song from this guys Everclear called "Heartspark=20 Dollarsign" from the cd "Sparkle and Fade".Do you guys that know these=20 guys advise me to buy the cd or not? That song is very cool but i dont=20 know if the CD is it or not. Mail me. Thanks. - --=20 "Sleep tight for me. I'm gone." - C.C. Keep in touch! C-ya!! =20 =20 -------------------------------------------- | | | Por/By: Jo=E3o Agostinho | | E-MAIL: mailto:joao.alex@mail.telepac.pt | | E-MAIL: mailto:a10752@alunos.ualg.pt | | URL: http://www.geopages.com/paris/3276 | | | | Olh=E3o - Algarve - Portugal | | | -------------------------------------------- ------------------------------ From: rc@gcc.cc.md.us Subject: Stickers and fanclubs and big words. SA>> Anybody get the neat little sticker in the mail for down on the upside?? SA>AIC and SG are both managed by Silver Management, so yes, they're SA>pretty closely related, and the fan club material has been known to SA>overlap. I got one too, but I'm not in any fan clubs. Seems they stole my address from the shirt page....or I'd like to think so. ;) Nothingman -Maybe I'll get some mail from Chris... ...maybe Kim will write a bunch of words I don't know and send 'em to me. ------------------------------ From: "Thomas D. Ozbirn" Subject: RE: free cd - ---------- From: Eric Gardner[SMTP:beavis@io.com] Sent: Saturday, June 01, 1996 11:53 PM To: sg Subject: free cd As I was browsing through the bargain racks at a local used cd/vinyl outlet, I was horrified to find a copy of Superunknown for $1.95. Fearing this would be bought by some mtv lemming who would only play BHS over and over and over and over and over and over and over and over, I bought it myself. So, if there is anyone on this list that doesn't have Superunknown, I'll gladly donate this one - so that it will be properly appreciated. Postage included (I steal all the stamps I need from my wife anyway, wtf...). In the unlikely event that there is more than one reply, I'll draw a name from a hat or something. Eric <*> I do not own an actual copy of superunknown and would love to get one, email me at tdo@datasync.com ------------------------------ From: "Thomas D. Ozbirn" Subject: identitty I received my own posts and was reminded that this stuff isn't in my = name..... I'm not Thomas D. Ozbirn, that's my dad, and I use his = internet access cause it's cheap (read: free) My name is kevin, or = infinite, just my neat little handle left over from when everyone still = used bbs's ------------------------------ From: "Thomas D. Ozbirn" Subject: more junk I'd just like to share my pain w/ you... A friend and I were planning to drive to the new orleans lollap. except = now I can't because my probation guy won't let me... It's very upsetting = because I've never gone before and this was the first time they've had = bands that i would pay/drive for.... soundgarden,metallica, SCREAMING = TREES.... that last one's the kicker....because i know they won't come around = down here (i live in MS, god help me) later ------------------------------ Subject: Re: Everclear From: dbradsh@usa.pipeline.com (DeeDee.Bradshaw) I have that Everclear CD...personally I think they are too hyper...their songs seem to explode off at you right from the begining...in general it is an ok CD but nothing to get excited about...unless they drastically improve I dont see them staying around for long... DeeDee ------------------------------ From: odyssey@planet.eon.net Subject: hi.. Hi.. Well, this is my first time writing to this mailing list (or any for that matter) but I guess I may as well just jump right in.. Is it just me, or does the song Ty Cobb remind you more of the stuff on Screaming Life/Fopp or Louder Than Love than the stuff on su or bmf? I guess it sounds more like their days with Hiro than the other stuff I've heard with Ben. Maybe I'm really stupid but I have no idea somms are.. Help? Erin ------------------------------ From: Russell Alan Fowler Subject: Re: Soundgarden Digest, Sunday, 2 Jun 1996 Soundgarden...One of the very few heavy "alternative" bands, with the exception of Alice In Chains, that I believe has longevity potential. I don't have the new album yet, but will get it soon. Has it been officially confirmed that SG will open on the second leg of the KISS reunion tour? I heard AIC had the first leg and SG had the second...SG ROCKS!!! rusty (cage) ------------------------------ Subject: ATN, issue 2.06: DOTU review From: seth ATN's new issue (2.06, June 1996) has been released, complete with a truly disgusting new interface (including some of the *worst* use of tables and frames I've ever seen (frames for the sake of having frames, not making navigation easier) and a blatant disregard for clear and organized design), and there is a review of DOTU in the 44.1kHz section. Here it is: - ---------- Rating: Pretty Good Down On The Upside Soundgarden A&M Records The Truth Behind the Shooting of John Lennon By Andrew Hamlin On first hearing "Pretty Noose" I grabbed my head and groaned, "Oh God, no melody, no hook, no nothing." That was on MTV; with the benefit of decent speakers and without the albatross of Frank Kozik's video (points for the Westernco Donut shop shots though) it sounded, well, Gardenish; sinister, rendolent of guitar pedals, lyrics you're better figuring out by yourself than reading along to. This was what Jack Endino heard in "Nothing to Say," which he engineered in l990, and which he recalls, in the new documentary Hype!: "This is so heavy, this is so amazing, this doesn't sound like a local band in a basement." But Soundgarden hasn't sunk any further in, or dug their way out, and therein lies their vexation. You can yell "Zeppelin!" all you want, it still won't change Soundgarden's essentially Sabbath nature. The flyblown guitar leads splatting to the ground and spilling DDT-laden entrails, the singer wailing from the depths of hell where he's either learning to like it or at least buy a sofa with no money down--Ozzy Osbourne and Chris Cornell speak to the hair-shrouded dorks, fled from with shrieks by females, driven to Lovecraft paperbacks and mushrooms and airplane glue, waking on a sweat-soaked bed with a half-bag of stunzies, and no memory of sophomore year. They differ, certainly, in some critical areas (Chris Cornell looks like a God; Ozzy looks like a guy I knew from college who lived on Pepsi, caught scurvy, twice, and is now a Microsoft millionaire), but the mantle of absolution to white punks on dope is a mantle both wear victoriously, and therein lies their limitation. As I implied earlier, it works much better to puzzle out Upside's words for yourself, since Cornell's delivery can redeem such couplets as "They say if you'll look hard/You'll find your way back home/Born without a friend/And bound to die alone" (from "Zero Chance," which I predict will be the second, and biggest, single), and also because the mind's ear conjures much better substitutions for what's in the booklet. Here's what I got so far on "Ty Cobb": "I was sittin' in a magic cat/Four walkin' mirrors/Devil's on fire and his laundry disappeared/One maggot, slurp it down/Suckin' on a ball and chain...Baldheaded fuck you all/Paul did it, fuck you all/Baldheaded fuck you all/ON VIDEOOOOOOO!" Parties wishing to analyze this shocking exculpation of McCartney's involvement in the Lennon shooting may contact me care of this publication. Soundgarden hasn't cracked a genuine funny since Badmotorfinger's "Drawing Flies," or maybe Superunknown's "My Wave," an antisurfing (or really, antisharing) beach tune, sagged a bit under the weight Cornell & Co. carry on their shoulders. Part of Sabbath's charm (apart from Ozzy's lyrics, too audaciously derivative of "The Doom that Came to Sarnath" for true ponderousness) lay in the tension between idiot-savant Tony Iommi and his not-so-savvy rhythm section, Geezer Butler (an idiot plain, no nuts) and Bill Ward (an extra-nuts chemical head who was happiest playing an eighth-note behind or ahead of the beat). The (Puget) Sound boys are a well-rounded crew--drummer Matt Cameron doubles on keys and writes more of the music than ever, while bassist Ben Shepherd was seen last year buying up every Gentle Giant CD in Seattle's Cellophane Square--but, though I hate to say it, in well-roundedness lies entropy. The sound of Down on the Upside is the sound of many well-oiled machines running pointlessly in a dark room, and if the foursome can't dumb themselves down (a bad move anyway, to look at Bill Ward), they should at least learn some new dirty tricks. - ---------- The only good part about the review is the fact that they provide three 45-second sound clips ("Pretty Noose," "Zero Chance," and "Ty Cobb"). seth ------------------------------ Subject: Another review on the Net From: seth This one is from Scotts on Sound, and they provide 2 soundclips ("Dusty" and "Blow Up The Outside World") with the review. The URL is http://www.nj.com/arts/music/sos/edition20/sound.html -- it's a pretty positive review, though both Scotts agree that "Ty Cobb" is a bad song. seth ------------------------------ From: Outshined@aol.com Subject: SOMMS (what else...) >> i have a buddy looking for an extra copy of somms. does anyone still have >> an extra copy to sell? please let me know, i want to get it for his >> birthday by the end of july. "extra" copy...? must be nice... :) some of us are still looking for a FIRST copy! if anyone sees an extra copy (Seth and other owners of multiple copies), e-mail me? Outshined ------------------------------ From: "Kyle Petty, Son of Richard" Subject: An article(long! Don't read if you have a short-spanned attention!) Well this is an article I found in a local mag/newspaper from Florida. It's dedicated to give local bands more attention. But it has important people on(of course) so people will pick it up and read! Ok, so here's this month's Cover story(It's basically an interview w/Matt)(Oh, yeah, typos are courtesy of me!): Soundgarden: From Superunknown to Superstars For a band, success brings with it its own set of demands. Sure, they're not the life and death considerations--like paying the rent, eating, and keeping the van running so it can tour--that the struggle to succees requires. But once one has "made it," there's definitely more to life than finding a place on the wall for platinum records and basking in the glow of stardom. Just ask Soundgarden drummer Matt Cameron. "It seems a bit more like a corporation now," he says from his home outside seattle. "I guess because we're trying to get more organized and everything that comes with success doubles and triples your workload as far as playing the whole business angle of it. So that stuff I'm adapting to--begrudgingly at times, because I'm essentially a musician. "I was never trained fir any of this stuff, but we've all come up together and learned how to deal with it. There are times when I get pretty frustrated with the demands put on my time--the non-musical demands. But it's better than working all the shitty day jobs I had. I'm not complaining." Over the years, Cameron's toiled as a landscaper and in various positions "in the restaurant industry," among others. "When I moved up here I started working at Kinko's and then I kind of got into the print trade," he recalls. "Tad(Doyle, the portly leader of the now defunct band Tad) worked at Kinko's for a while, that was king of the 'rock' place to work." It's been a while since Cameron's had to think about "off-season" jobs. And with the success of Soundgarden's last album, Superunknown, he's probably been able to start putting together a retirement plan. With Superunknown, Soundgarden became genuine superstars. The album debuted at #1 on the Billboard chart in the spring of 1994 and, buoyed by the successive radio/MTV hits "Spoonman," "Black Hole Sun," and "Fell on Black Days," went to sell over five million copies worldwide. It earned the band a Grammy Award last year and put them in the middle of a media frenzy where even such trivialities as singer Chris Cornell's hair length were popular topics of discussion. It also established Soundgarden as not anly the kings of the Seattle hill, but one of the world's "biggest" rock bands. The success of Superunkown capped a decade-long climb for the quartet that began in grunge rock obscurity with early indie releases like Screaming Life and Ultramega OK on the Sub Pop and SST labels respectively. Soundgarden's major label debut, Louder than Love, put the band on the Billboard chart and out on the road with everyone from Voivod to Danzig. The breakthrough follow-up, Badmotorfinger, gave Soundgarden--rounded out by singer/guitarist Chris Cornell, guitarist Kim Thayil and bassist Ben Shepherd---its first taste of mainstream success, earning them a platinum record on the strength of "Outshined" and "Rusty Cage" and a slot on the second Lollapalooza tour. It seems Badmotorfinger readied the launch pad to "rock star immortality" while Superunkown provided the spark that lit the engines. Soundgarden blasted off and hasn't looked back. "After I listened to the record when we completed it, I kind of thought it was going to be a success--I wasn't completely suprised by it," says Cameron. "We've been working at this for a long time so the success thing doesn't hasn't seemed like it's been overnight. It's seemed very gradual, like we've been working for it. "I think what we try to do is make the music as strong as it can be, and if there are elements in there that a big audience can grab onto, that that's wonderful. We're lucky enough to have a really excellent singer and songwriter in the band. He connected with a gigantic audience with a couple of tunes on the last record, so that's a bonus. We didn't try to do that intentionally, it just grew out of what we've been doing musically over the years--it was kind of a natural step for us. It's nice to have a big audience and to have seen it grow over the years. That's been pretty fun." Recently, Soundgarden has been preparing for the release of Superunkown's much-anticipated follow-up, Down On The Upside, by handling the duties Cameron alluded to--like interviews and videos, as well as gearing up to rehearse for the band's stint on Lollapalooza '96. In talking to people, Cameron says he's already being given the sense that Upside would be making a big impact. And with good reason. Where Superunkown may have had a couple of songs he felt "connected with a gigantic audience," Upside is pretty much a complete album capable of doing just that. Taking a cue from Superunkown, which saw Soundgarden moving away from the leaden droning of their earlier releases, Upside is a more mellow, more tuneful, and consistently inviting album that still maintains the band's intensity and dark aura. The Kim Thayil penned "Never the Machine Forever" is really the only track on Upside that matches the sludge-like crush of material from Louder Than Love or Badmotorfinger. The other bombastic material here, "An Unkind," "Never Named," "No Attention," and the rip-roaring "Ty Cobb"--which actually matches Ramones-esque riffing with a mandolin twang--shows Soundgarden doing an about-face by playing with a suprising punk-like vigor. The rest of Upside pretty much runs the gamut. There's the engaging pop of the first single "Pretty Noose" and "Burden In My Hand;" sparse, somber numbers like "Applebite," "Zero Chance," and "Boot Camp;" the folksy perkiness of "Dusty," which features the lyric the album's title was derived from; the Beatles-like psychedelia of "Blow Up The Outside World;" the trademark brood of "Rhinosaur" and "Switch Opens," and the rousing mini-epics "Overfloater" and "Tighter And Tighter." "I think some of the tunes on this record that can be viewed as radio songs are a little bit meatier than the ones in our last record--not taking anything away from those," says Cameron. "They're a little more involved, they've got a certain element of power that comes through--the brute strength of how we played the tunes--as opposed to "Black Hole Sun," which has a more complex melodic structure that doesn't necessarily require brute force to get the whole message of the tune across." Indeed, despite the relative initial simplicity of much of Upside's material, repeated listens reveal subtle rhythmic twists and clever instrumental asides--like the mandolin in "Ty Cobb"--that make the songs stand well apart from standard pop. "We like to texture our tunes as much as possible and that involves different parts that you kind of bury in a tune and they'll come out in a certain spot or a certain rhythmic accent that doesn't hit you right away, but you'll remember it later on," notes Cameron, adding with a chuckle, "we always like to incorporate all those little tricks." Another element one will discover in time is Chris Cornell's morose lyrical sense, which has always been part of the Soundgarden sonic package, but here is darker and more sinister than ever, almost in spite of the engaging nature of Upside's music. He seems to like playing one against the other, matching his most disquieting thoughts--a number of tracks read like a sociopath's diary entries--with the most pleasant musical accompaniment. "Burden In My Hand" stands as a prime example--light acoustic verses and punchy choruses provide the background for lines like "I shot my love today would you cry for me" and "So kill yourself and kill your health and kill everything you love." "Blow Up The Outside World," whose title really says it all, follows ina similar vein. An exeption, however, is "Ty Cobb" whose lyrical rage--"Sick in the head sick in the mouth / and I can't hear a word you say / not a bit and I don't give a shit / I got the love to hate / all I need is your head on a stake"--is matched by the frantic riffing and pace. For his part, Cameron, who wrote the music to "Applebite" and "Rhinosaur," is at a loss to explain Cornell's motives, much less his inspiration. Like any fan, he merely finds Cornell's poetry fascinating and, well, cool. "He just writes it like he sees it and, a lot of times, how he sees it is a private thing and I don't question it at all. The results are always stupendous," he says. "That's how he sees things. He's very poetic , yet he hits on the darker side of things--that's kind of beautiful and scary at the same time." Soundgarden got to road test some of Upside's material last summer when the band took a break from recording to play some festivals in Europe as well as make up dates for a few shows that were postponed from a earlier tour. "That was kind of cool, seeing people's reactions to song's they'd never heard before," says Cameron. "And it was cool playing the new stuff live, especially after you've been living with it in the studio for weeks (the band self-produced the new album). People seemed to dig the new material which was gratifying--and the break from the studio was definitely invigorating." Wow! A reviewer that actually listened to the album SEVERAL times before writing!!! Isn't that amazing?? That's it! Here's the info on the mag if you want to post it on the page Seth: >by Peter Atkinson >Jam Magazine(North/Central Edition) May 24, 1996 (pg. 30-31) Peace! \/ Andrew Northcutt http://www.ee.fit.edu/users/northcut/ Add a: "TABS/" to see my SG tabs ------------------------------ From: blind dog Subject: linwood's my favourite stop... On Fri, 31 May 1996, Stella Rogers wrote: > "wouldnt it be really cool if matt sang just one song?" I mean, I've always > heard him in the background and doing backups and I think that he has a > really great voice from what I can tell. And I know it would really be hard it has already (sort of) happened. matt sings lead vocals on the hater tune 'sad mcbain', to which he also wrote the lyrics. unfortunately, we don't get to hear him puffing away from behind the kit, because his friend gregg keplinger plays drums for that one song. if you don't already own the hater cd, run out and buy it now. it rulz :) ----------------------------------- a thousand doors, a thousand lies rooms a thousand years wide ----------------------------------- ------------------------------ From: urbano Subject: Re: more junk At 11:06 AM 2/06/96 -0500, you wrote: > A friend and I were planning to drive to the > new orleans lollap. except now I can't > because my probation guy won't let me... > It's very upsetting because I've never gone > before and this was the first time they've had bands that i would pay/drive for.... > soundgarden,metallica, SCREAMING TREES.... I would have paid and driven from here to Lolla'92 if my parents would have let me. I think if I had to choose between this year's and Lolla'92, I'd prefer 92... URBANO ------------------------------ From: blind dog Subject: ultramega long post... I had some time to myself over the weekend, so I was finally able to go back and listen to my cds and pick out my favourite soundgarden moments. this is a fairly long post (which if combined with seth's irc post, we could have a digest), so if you don't have the time or inclination, then hit the ol' d now :) outshined: every time I listen to this album I wait (thank god it's the 2nd track) for the part in outshined where chris starts singing 'someone let the dogs out...', because kim starts doing this cool melody on his guitar which follows chris' vocals. holy water: my favourite song off bmf at the moment. the whole song rocks, especially the chorus. matt does this *great* roll which I try to air-drum every time I hear it :) new damage: the version from alternative nrg, in particular. it just kicks my ass each time I hear it. matt's drums are so powerful, it makes me think that they could almost re-record bmf and somehow make it better. now, if I could only get littlejoe to give me the cd back... slaves and bulldozers: the live version from somms. assures me that matt is one of the most accomplished contemporary rock drummers around. how many other drummers would even attempt to play the melodic intro to one of their own songs, let alone pull it off as matt does here? let me drown: no matter what some listers or unofficial homepage maintainers may say, I maintain that let me drown is one of soundgarden's best songs. not perhaps even (imho) among the best five songs from superunk itself, but in terms of layering and the multiple parts within the song, it stands as a sonic achievement for the band. I particularly like the section between 1:09-1:20, where the band is in *such* a groove, something they don't often duplicate. of course, chris' doubled vocal track and screaming lyrics don't detract from the song at all :) fell on black days: a good song all over the place, but my favourite part is the odd percussive instrument they use at 3:07. does anyone know what it is? mailman: I know I've posted a long rant about this song once before, but I couldn't leave it out. the sheer heaviness of this tune is what attracts me time after time. chris vocals are so well done, and fit the mood of the song perfectly; especially when he sings 'for me' at the end of the first verse, when you can almost see him spitting when he intones 'for all of your kisses, turned to *spit* in my face', and when the mic alomst overloads from the stress of his 'riding' (at 1:23). add to this matt's mellotron, the kick-ass lead break and drop-in leads by kim and the out of time guitar (in the right channel) during the intro, and you have one classic soundgarden song. limo wreck: one of the band's best. chris' choruses are mindboggling at best, and matt's high hat works overtime. but my favourite part is kim's guitar accents during the 2nd chorus (in the left channel). they are pretty tiny, but pave the way for his beautiful blues licks in tighter and tighter (at 3:34, 3:40, 4:57 and 5:04 for anyone who is insane enough to be interested). fourth of july: matt's drumming during the lyric 'the fire is spreading'. makes me think of john bonham (as does the drum intro to dusty). it also has my favourite sg lyric: 'down in the hole, jesus tries to crack a smile, beneath another shovel load'. chris may have written plenty of religious-type lyrics before this and after this, but nothing in that vein has ever been quite as cool. ty cobb: when the computer-generated voice does a duet with chris during the 2nd verse. also, the guitar noise at 2:45 that sounds like the bell at a train crossing (good to hear that you like it too nothingman). assorted other ones: matt's roll at 2:32 in she likes surprises. the chorus of blow up the outside world. the squelch in never named ('but I was * just a kid'). the 'wanna make it right' part of overfloater. the *unbelievable* lead guitar/drum break in tighter. matt's drumming on she's a politician (how didn't this make bmf?). "we are not cartoon characters!" matt speaking in an article. finally, at the show I saw here in 1994, chris told us all to "close our eyes and put our hands above our heads. relax and put your arms over your heads. think of something nice. imagine yourself standing in a big, wide field, full of green grass, just relaxing. standing in the grass...and fucking sheep". I remember littlejoe and myself feeling very embarrassed (along with the other couple of hundred people with their own arms above their heads), but laughing anyway :) and if jeremy or seth have read this far, this one is for you: track 7, undertow, 3:32-4:53 :) ----------------------------------- a thousand doors, a thousand lies rooms a thousand years wide ----------------------------------- ------------------------------ From: blind dog Subject: sunspots have faded... On Sun, 2 Jun 1996, seth wrote: > Rating: Pretty Good > Down On The Upside > The only good part about the review is the fact that they provide > three 45-second sound clips ("Pretty Noose," "Zero Chance," and "Ty what I am wondering is: how do they finally give the record a rating of pretty good after the guy bags it so effectively? he says that pn has no hook, and then goes on to ridicule chris' singing and fails to mention any other songs than zero chance, pn and ty cobb. talk about your balanced analysis. what a shocker. (btw seth, I agree that atn is now also in the 'shocker' category. how are you supposed to find anything without tearing your own hair out?) also, how many copies was dotu on clear vinly :) limited to? was it 1500? I got mine yesterday, and it is beautiful. I just wish there was a number on it somewhere that indicated what number it actually is. (are they all made in the u.k?) btw, can any guitarists on the list duplicate, or even explain, the noise that comes out of kim's guitar during his lead break on pn? the part is at about 2:58 (you'll know it when you hear it), and makes me shake my head every time. does it sound weird to the rest of you? ----------------------------------- a thousand doors, a thousand lies rooms a thousand years wide ----------------------------------- ------------------------------ From: j_crocke@unity.ncsu.edu Subject: Re: ultramega long post... > and if jeremy or seth have read this far, this one is for you: >track 7, undertow, 3:32-4:53 :) wow.. great part, especially when you (or me) is depressed. Just stand there, sing your heart out w/o crying. Stand and thrash around the room.... hey Perlman, you a big TOOL fan er something? jeremy ------------------------------ From: Outshined@aol.com Subject: Clown's post about music and SG... I don't want to quote the WHOLE message here, but I did want to say... "well said!" as far as music goes, Soundgarden's just been doing what they want for years... Black Hole Sun is not a pop song, nor did the band "sell out" when they wrote it. Clown said it far better in the original post, go back and read it... just wanted to comment on an idea well stated... ------------------------------ From: sean@ramoth.unl.edu (Sean McCarthy) Subject: Like Acoustic vs. Electric Hey All- Just picked up TTITTL single and listened to the acoustic version of 'Like Suicide' for the first time. Its reminices 'Seasons' by Chris Cornell and I'm still blown away at the total emptiness that the song brings to the listener. I hate to say it, but I still prefer the electric version. This one has all the darnkess and the stillness of the lack of bass and drums bring it closer to the true meaning of the song. What's missing though is what make Soundgarden the best band of the 90s-dynamics! The electric version oozes slowly first, dark and moody. Towards the second verse, it feels like the lava like flow of discontent is starting to bubble. The electric verse of "With an ounce of pain, I WIELD a ton of rage" seems more pertinant on the electric version. And ohhhh the last 2 minutes!! An ear popping solo from Kim and Matt and Ben totally going off on each other's vibes. Its as if the song can't stop erupting and the last minute is the explosion. That's why I tend to favor the electric version, but the acoustic version did move that song up to my 2nd favorite SG song.... still "Hands all Over" takes the prize there :) My thoughts, thanks for reading Peace Sean ------------------------------ From: caryn rose Subject: sg and "burden" and stuff..... also r.e.m. hello all, well, a nice weekend here in seattle, capped off by the sonics (finally!) winning. whatever. ;) i've been noticing everyone talking about the digipaks... and i can report that there are ONLY digipaks out here, so don't think your city is the only one to get them etc. personally, i just don't get the idea of the digipak. yes, it uses less plastic, but it is not archival *whatsoever*. if you don't have experience with this format, i heartily recommend that you buy a clear plastic jewel box for a buck or so and put the cd inside it and put the digipak somewehre safe. they just DO NOT last... not to mention that the sleeves always, always scratch up the cd over time. (speaking as a veteran of pearl jam's vitalogy....) i don't understand why the music business keeps using this format for this reason. or maybe they don't know? what else. of minor sg interest, went to see a show friday night (satchel/pilot/tribe 8) and the between-set music was dotu. ;) very nice indeed. finally, this is totally off topic, but if anyone out there is a big r.e.m. fan, i'm trading some tapes i haven't traded in years, and would love to trade them to get some soundgarden! (there ya go seth, some sg content!) the list is online at http://www.nwlink.com/~clr/list.htm later gang june 10 shroomy... writin' it down NOW ;) - --caryn ------------------------------ From: caryn rose Subject: lolla -- help wanted for those who can't get through the *&*&^ site, and for those with no $$, here's a couple of opportunities to try to get to see lolla for free... >http://www.lollapalooza.com/helpwanted.html > [Lollapalooza] [1996] > > Come One, Come All! > > Be a part of the Greatest Show on Earth! > > Lollapalooza is seeking the brilliance of local talent to perform > in the Midway of this years Colossal festivities in your city. > > Do you have a theatrical group, team of acrobats, cheerleaders, or > a marching band? > > Are you a ventriloquist, a comedian, or a belly dancer? What's > your medicine? > > Throw your hat in the ring, send us photos, videos, BIOS, etc. > > The sky is the limit! > > Address your submissions to: > LOLLAPALOOZA > Attn: TRIXIE > 6399 Wilshire Blvd. Suite #209 > Los Angeles, CA 90048 > > Make copies for yourselves, we will be unable to return your > submissions. We will contact selected talent by June 15, 1996. > > Lollapalooza is also looking for 10 sensational people with > outgoing personalities to be our sat, Ringmasters. We need some > assistance welcoming fans to the big extravaganza and informing > them of the day's electrifying festivities by assisting in the > distribution of the Lollapalooza magazine. In exchange for > approximately 3 hours of hard work (1 hour before the doors open > and 2 hours after they open) we would like you to be our VIP guest > for the rest of the day! > NOTE: People coming dressed in the festival theme will be given > additional consideration! Address your submissions, Attn: BELLE, > at the same address as above. > > [Smiley] > ------------------------------ End of somms Digest [Volume 2 Issue 144] ****************************************