Date: Tue, 6 May 1997 02:00:17 -0400 Subject: SOMMS Digest - 5 May 1997 to 6 May 1997 There are 25 messages totalling 1028 lines in this issue. Topics of the day: 1. Soundgarden v. Eikenberry 2. Hello kiddies... 3. susan silver 4. CrappyCorporateMags (4) 5. 6. Euro-SuperUnknown 7. She likes surprises 8. She Likes Surprises 9. SG Video Games Soundtracks 10. No Subject 11. got SLS up my sleeve 12. SG recording contract (2) 13. SG pics 14. laughing every time I choke... 15. Seth's site? (2) 16. Misc. Junk, my first post 17. SG Webring 18. More Rolling Stone Mudslinging 19. no-one sings like you anymore... 20. A site for sore eyes ** To UNSUBSCRIBE from SOMMS, send a message to LISTSERV@MITVMA.MIT.EDU ** with the following in the *body*: ** ** SIGNOFF SOMMS ---------------------------------------------------------------------- Date: Mon, 5 May 1997 00:33:47 -0700 From: "V. Anselmo" Subject: Soundgarden v. Eikenberry A more important issue to be aware of than Rolling Stone's opinion of the top 200 alternative albums... HISTORY: Soundgarden v. Eikenberry, (Washington, 1994). (Plaintiffs included Soundgarden, Alice in Chains, and Nirvana.) Obtained injunction and judgment declaring Washington state's "erotic music" statute (requiring "erotic" sound recordings to be labeled "adult only") unconstitutional. The decision was affirmed on appeal to the Washington Supreme Court. CURRENT: (excerpted from the April 9, 1997 issue of 'Eastsideweek', a free Seattle newspaper) Rep. Kathy Lambert, the Woodinville Republican, was driving down I-5 one day when she heard on the radio that Proposition 209 in California had run into a roadblock. A state court had issued a temporary injunction barring implementation of the law, which calls for affirmative action programs to be dismantled, until it could be subject to further constitutional scrutiny. Lambert asked herself how a court was able to impede a democratically elected law. Then, she thought about other laws that had met a similar fate. Thus was born an idea for a bill designed to put the courts back in their place. Riding a wave of conservative resentment against judicial decisions perceived as liberal activism, the bill would allow legislators to ignore state court decisions on whether laws are constitutional. Among the cases fueling local conservatives' resentment against the courts is 'Soundgarden v. Eikenberry', which overruled the sate's so-called "dirty lyrics" law allowing music vendors to be held responsible for sexually explicit recordings deemed offensive to children. In the meantime, according to Gower (Republican caucus legal counsel), he and Lambert, are busy "stuffing envelopes with copies of the bill to send to every governor and majority and minority leader in every legislature around the country," with the hope of jump-starting a national movement." -Vikki !@#%* ------------------------------ Date: Mon, 5 May 1997 07:19:42 -0400 From: Shroom Girl Subject: Hello kiddies... Has anyone ever touched Chris Cornell? Ummm... YES, I HAVE TOUCHED THE MAN. MORE THAN ONCE. (Sorry, that required shouting.) Hey Seth, did I ever tell you about the time that Chris stage-dived almost on top of me and I touched his........ Next on the list of topics to touch on... I AM NOT A BAD HOOTCHIE!!! So what if I started up a website for another babe after SG broke up?? I needed a way to channel my grief... otherwise I would've freaked out and tore all of my wonderful SG posters off my walls... but not before I drew devil horns on Chris and black teeth on Ben. Want to see my newest website? It's the grooviest one I've ever finished. I'm really happy with it... http://members.aol.com/aicgirl/sean.html Sean Kinney is good clean fun, kiddies. And a big =P to UKDeb. ;-) j/k *smooches* As to the whole Rolling Stone/Blockbuster thing... screw 'em. Of course Blockbuster is going to do everything they can to cash in over the break up... they're a freaking business. That's what they're there for. A word of advice to all... don't shop at Blockbuster. Take as much of your business as you can to your local indie music stores. And Rolling Stone... well, Caryn has already trashed them in such an eloquent and brutal way... there's nothing left to rip on. =) A loooong while back, Chris Miller wrote: >p.s. Hey Shroomy, were Chris and Matt wearing undies under their grass >skirts? ;) Ok... just what kind of pervert do you take me for, Chris?? I am so unbelievably offended that you would consider me so depraved as to peek through Chris & Matt's skirts at their............ (Chris had on some black speedos with little pink hearts, and Matt had that liquid latex.... uh... nevermind.) ;-) Sooooo... here's a quick question for everyone to consider: If you happened to find Chris Cornell lying unconscious in a field (and he wasn't hurt or anything... he was just unconscious)... what would you do? ;-) AAAAUUUUGGHHHH!!!!! I was just kidding!!! JUST KIDDING!! Please don't respond to that, or I may suffer severe bodily harm at the hands of the long-time SOMMSters. Damn meeeeeeeee... Hey, did I tell you guys that I heard through the grapevine what Chris' next project is going to be? He'll be putting out a 1998 calendar with Dave Navarro entitled "Naked Rockstars in a Jacuzzi." Yep... '98 will be a good year, kiddies. Unless Hanson decides to release another album, that is. Okokok... seriously in reference to things that Chris might be doing in the future (and aside from the solo album that we all know is coming)... I was wondering if he'd ever pick up a little acting. Yeah, I know that he looked totally out of place in Singles... but awhile back he DID get offered that part in that movie that I never saw and couldn't put a name to right now to save my life. And even though he declined the part... didn't he later go back and say that he really liked the movie and wished he'd actually participated in it? I could definitely see Chris taking up bit parts in movies... (ala Jerry Cantrell & Courtney Love). Ha! And now that I've got that idea tickling my remaining brain cells... y'know who I think would be an even better actor than Chris? His brother Peter! ;-) Hmmm, now if someone would only write a movie that both of them could be in (say 'The Cornell Story' or something)... yep yep, I could definitely die happy. Seeing the two of them together like that....... oh, catch me while I swoon. ;-) Shroom (Sleep deprived and loving it...) "Well Shroomy... now that Soundgarden is over, I'll have ALOT more time to explore my adventurous side. How 'bout if you meet me under the bench in Gasworks Park at midnight? I'd like to show you just what a rockstar with too much time on his hands is capable of..." ~ Chris Cornell (Words not necessarily said in that order...) <~~~ my disclaimer ------------------------------ Date: Mon, 5 May 1997 09:13:28 -0700 From: Andrea Pinto Subject: Re: susan silver >From: MEXUM@email.usps.gov >Subject: Susan Silver >Anyone have any idea what Susan Silver's middle name is? John. ------------------------------ Date: Mon, 5 May 1997 13:36:29 -0500 From: MICHAEL APPLE Subject: Re: CrappyCorporateMags Date sent: 5-MAY-1997 13:11:03 Hey all, >At 08:28 PM 5/4/97 -0500, MICHAEL APPLE wrote: >>But I >>think that we should still be up in arms over that Rolling Stone "best" 200 >>albums article. >> The reason I say that is because these magazines are going to be the >>record that people may refer to years from now, when the whole Seattle >>grunge scene fades into history. I think that it's our duty to make sure >>that these bozos in these magazines get their facts straight. If we don't >>get outraged about it and force some changes, people in the future might >>get the wrong impression about our music. > >"force" some changes?! and how exactly do you propose that we will have >any effect on them? and on what do you base your assertion that "these >magazines are going to be the record that people may refer to years from >now"? why a magazine, as opposed to a book, of which there have been >several excellent ones? why not a movie such as hype!? why not a magazine >such a time or newsweek, who covered the "grunge revolution"? The reason that petitions and other such devices work is by scaring the magazine (or whatever) into thinking that they will lose business. If you threaten a business with a boycott (or whatever), they become afraid that they will lose profits and so they change their policies. That's how you can force changes on magazines, like Rolling Stone. I cite, as an example, the situation with Pepsi in Burma. They were supporting a dictatorship in order to get cheap labor for their factories. When they were threatened by boycott by their consumers, they changed their policies in Burma as a result. The consumers, effectively, forced a change on the business. All businesses continue to survive only by the consent of their consumers. If you collectively threaten them, they take it very seriously. That's why you could force changes on Rolling Stone, if you were organized enough. As for you questions about why Rolling Stone might be used as a reference in the future, there are simple answers for that as well. Books are not a good reference, as any researcher will tell you, because even before they come to print, they are already obselete. That is because the world continues to change and evolve, while the books facts are locked in print. From experience, I can tell you that it takes a book about 18 months to change from final draft on your desk to a bound printed copy in your hands (unless you've recieved an advance, in which case it may take less time.) In those 18 months, life goes on, and things which you cite as factual may change. As an example, take a look at Chris Nickson's lousy excuse for a book on Soundgarden. There's no information on Down On The Upside, no Songs From The Superunknown, no 1996/1997 tour info. It's incomplete. So if a researcher used it as a source, it would be obselete. That's why magazines like Rolling Stone, Spin, and KERRANG! are often used instead. They often have much more current information. Time and Newsweek may also be used, but since they don't focus on music, but rather on general news, they aren't as useful sources. >soundgarden do not >need any stupid corporate magazine to ensure their place in rock history. >they as a band have already ensured that. their albums aren't going to be >disappearing out of the record store any time in the near or distant >future. i'm sure that whatever future musical ventures the individual >members take part in will keep their back catalogue in stock for many years >to come. The problem, though, is that not everyone is willing to buy a record without knowing what kind of music is on it. I know that a few record stores now let you preview your CDs or LPs, using a special machine, but that's unusual in the record business. Most often, you're on your own. This is where magazines like Rolling Stone come into play. They can expose readers to bands and tell them a little about them. Of course, it would be stupid to go out and buy a record based on one writer's opinion, but if you get a whole stack of articles on the band, you can figure out if they are something you'd like to listen to. For instance , when I first heard of Green River, I wanted to know what they were like, even though I had no chance of hearing them before buying a record. So, I copied off a stack of articles about them, from various newspapers and magazines, looked at how members of bands I liked thought of them, and read some descriptions of their style. As a result, I bought the reissue of "Dry As A Bone/Rehab Doll" and found that I really liked them. If I had instead waited until I heard the record, before buying it, I would never have been able to get it. Not everyone lives in a big city, and not everyone lives in an area where music of this kind is readily accessible. Sometimes you just have to wing it. :) And that's where music magazines can be valuable. >> So, while it's fundamental that we listen to music that we like, not >>because of some dumbass reporter's opinion (music reviews are complete crap >>in my opinion), we've got to make sure that the truth comes through in >>magazine articles. If we aren't part of the solution, we're part of the >>problem. > >the rolling stone top 200 was not a factual article about the band. it was >an OPINION. it's just one big record review. has nothing to do with >"truth". If they print it, opinion or not, they are making a statement about it. If that statement is wrong, we should correct them. Later, Michael Apple ************************************************** Pale in the flare light The scared light cracks and disappears And leads the scorched ones here And everywhere, no one cares the fire is spreading And no one wants to speak about it. - "4th Of July", Soundgarden ************************************************** ------------------------------ Date: Mon, 5 May 1997 10:53:01 -0700 From: Caryn Rose Subject: Re: CrappyCorporateMags On Mon, 5 May 1997, MICHAEL APPLE wrote: > I cite, as an example, the situation with Pepsi in Burma. They were > supporting a dictatorship in order to get cheap labor for their factories. > When they were threatened by boycott by their consumers, they changed their > policies in Burma as a result. The consumers, effectively, forced a change > on the business. you *dare* to equate the political situation in Burma with a rock band being left out of a top 200 album listing?! get some proportion. the political situation in burma was a matter of life and death. a rock band being left out of some crappy top 200 listing means absolutely NOTHING compared to that -- hell, it means nothing to begin with! > All businesses continue to survive only by the consent of their > consumers. If you collectively threaten them, they take it very seriously. > That's why you could force changes on Rolling Stone, if you were organized > enough. gee, then why hasn't anyone ever done it before? do you think you are the first person in the history of that magazine to disagree with one of their writers? > As an example, take a look at Chris Nickson's lousy excuse for a book > on Soundgarden. There's no information on Down On The Upside, no Songs > >From The Superunknown, no 1996/1997 tour info. It's incomplete. So if a > researcher used it as a source, it would be obselete. > That's why magazines like Rolling Stone, Spin, and KERRANG! are often > used instead. They often have much more current information. Time and > Newsweek may also be used, but since they don't focus on music, but rather > on general news, they aren't as useful sources. and again, so fucking what? > The problem, though, is that not everyone is willing to buy a record > without knowing what kind of music is on it. I know that a few record > stores now let you preview your CDs or LPs, using a special machine, but > that's unusual in the record business. Most often, you're on your own. yep, and that's pretty much how it's been for a while, and i don't see the music business dying yet. > This is where magazines like Rolling Stone come into play. They can > expose readers to bands and tell them a little about them. a magazine like rolling stone exposes people to known suspects, the same bands you already hear on commercial alterna-radio already. if you're relying on rolling stone to expose you to music that is fresh, new and different, off the beaten path, you're going to be waiting a long time. > If they print it, opinion or not, they are making a statement about it. > If that statement is wrong, we should correct them. and there is no right or wrong when it comes to opinion. --caryn ------------------------------ Date: Mon, 5 May 1997 13:35:45 -0500 From: "James W. Blanton" Subject: Hey, just a couple of quick questions.I was reading an old issue of Guitar World and they mentioned that a SG song is on the soundtrack to the 3-DOgame Road Rash. I was wondering if anybody knows what song it is. I've played some game that has "Paranoid"and some other seventies rockers that sounded pretty funny. also, on the Superunknown discs with "She likes surprises", where on the disc is the song? I have it on Fresh Deadly Rarities, and can't quite picture where a good place for it to fit in wouldbe. Later. ------------------------------ Date: Mon, 5 May 1997 14:28:08 -0500 From: Andrew Christensen Subject: Re: Euro-SuperUnknown On Mon, 5 May 1997, James W. Blanton wrote: > on the Superunknown discs with "She likes surprises", where on the disc > is the song? I have it on Fresh Deadly Rarities, and can't quite picture > where a good place for it to fit in would be. it is at the very end of the cd, about 10 seconds after "Like Suicide" ends, the song starts. i think it fits really well, it's kind of like a comic relief at the end of what is otherwise pretty dark. that's weird that it was left off the american album, it's kind of like how that last chapter of "A Clockwork Orange" was deleted in america, because the publisher told Anthony Burgess that it was too happy, and americans wouldn't like that. so they left it all mean. anyway, that is me rambling, but i just now noticed that interesting comparison. that was fun, bye now. andrew ------------------------------ Date: Mon, 5 May 1997 15:10:54 -0500 From: NIKI FREER Subject: Re: She likes surprises James W. Blanton wrote: >also, on the Superunknown discs with "She likes >surprises", where on the disc is the song? it's after "like suicide." mind riot ------------------------------ Date: Mon, 5 May 1997 14:54:48 -0500 From: andrew christensen Subject: Re: She Likes Surprises >Hey, > just a couple of quick questions.I was reading an old issue of Guitar >World and they mentioned that a SG song is on the soundtrack to the >3-DOgame Road Rash. I was wondering if anybody knows what song it is. I've >played some game that has "Paranoid"and some other seventies rockers that >sounded pretty funny. also, on the Superunknown discs with "She likes >surprises", where on the disc is the song? I have it on Fresh Deadly >Rarities, and can't quite picture where a good place for it to fit in >wouldbe. Later. > the song is the last one on all of the SuperUnknown cds outside of the u.s., and on the american vinyl it was also the last song. it starts just about ten seconds after "Like Suicide" ends. i think that it fits really well, it works kind of as a comic relief after what is otherwise pretty dark. i just now thought of this but that is very similar to the last chapter of Anthony Burgess' "Clockwork Orange" being left out of the book in the american copies, because his publisher thought it was too happy for the americans who were more into the violence. anyway that answers the question so i will stop rambling. kbye. andrew ------------------------------ Date: Mon, 5 May 1997 15:24:39 -0600 From: Scott Brooks Subject: Re: SG Video Games Soundtracks This is my first post. About that SG song that is on the 3-DO game Road Rash. I don't know what song is on the 3-DO, but on the Playstation, there are a whole bunch, including Superunknown, Kickstand, and Rusty Cage. There may be a couple more, but I can't remember. >Hey, > just a couple of quick questions.I was reading an old issue of Guitar >World and they mentioned that a SG song is on the soundtrack to the >3-DOgame Road Rash. I was wondering if anybody knows what song it is. I've >played some game that has "Paranoid"and some other seventies rockers that >sounded pretty funny. also, on the Superunknown discs with "She likes >surprises", where on the disc is the song? I have it on Fresh Deadly >Rarities, and can't quite picture where a good place for it to fit in >wouldbe. Later. > > ------------------------------ Date: Mon, 5 May 1997 17:43:14 -0400 From: Mark Bidoli Subject: Re: No Subject "She Likes Suprises" appears as the last song on the European version of SuperUnknown. I bought the disc in Germany. The inner circle of the disc is red rather than the normal vinyl color of the disc. Mark ------------------------------ Date: Mon, 5 May 1997 18:46:14 -0400 From: "Steven W. Russell Jr." Subject: got SLS up my sleeve At 05:43 PM 05/05/97 -0400, you wrote: >"She Likes Suprises" appears as the last song on the European version of >SuperUnknown. I bought the disc in Germany. The inner circle of the disc is >red rather than the normal vinyl color of the disc. yup...SLS can be found on all Euro CD's of SU with an inner red circle thingy on the disc. It can also be found on the vinyl version of SU and to those lucky american's who spent way too much money on the _Alive in the Superunknown_ coaster...er, CD+...it can be found there...and it can also be found on the companion (cheaper) CD _Songs from the Superuknown_....which is just the songs from AitS and "Jerry Garcia's Finger". steve - top 10 songs from the 80's 5.4.97 - (i am) superman, tainted love, seconds, how soon is now?, fascination street, alex chilton, subdivisions, knock em dead kid, eminence front and life during wartime. ------------------------------ Date: Mon, 5 May 1997 19:41:33 -0500 From: Ben Timberlake Subject: Re: CrappyCorporateMags > The reason that petitions and other such devices work is by scaring >the magazine (or whatever) into thinking that they will lose business. If >you threaten a business with a boycott (or whatever), they become afraid >that they will lose profits and so they change their policies. That's how >you can force changes on magazines, like Rolling Stone. Michael, it does suck that Soundgarden was left off the list. Yes, some people will take that article as "the word" of what the top 200 alternative albums are. Many more, will perhaps realize that Soundgarden is notable by omission. But the boycott you suggest cannot bring journalism any closer to truth. The article *was* opinion. Rolling Stone should have labeled it as such, but they didn't. It's their prerogative as a magazine that has the cash to back it up. If such a boycott as you suggest were to have its intended effect, you would be trying to dictate a periodical's opinion. Quite simply, this is unreasonable. For news sources to have the ability to express opinions is integral to their viablity as news sources. If you wish to change this affairs, you'll have a hard time. As a journalist, I'll be working against you. -- Ben Ben Timberlake This is the way the world ends Northwestern University Medill School of Journalism pubweb.acns.nwu.edu/~bft718 btimlake@nwu.edu -30- HAMM: [Soft.] What'll I do? [Pause. In a scream.] WHAT'LL I DO? -- Beckett, "Endgame" ------------------------------ Date: Mon, 5 May 1997 20:59:52 -0400 From: Eric Boyce Subject: SG recording contract Just wondered if Soundgarden has fulfilled their recording contract with A&M. If not, will they be cranking out a live album or (god forbid) a greatest hits compilation? Eric ------------------------------ Date: Mon, 5 May 1997 18:18:56 -0700 From: Caryn Rose Subject: Re: SG recording contract On Mon, 5 May 1997, Eric Boyce wrote: > Just wondered if Soundgarden has fulfilled their recording contract with A&M. > If not, will they be cranking out a live album or (god forbid) a greatest > hits compilation? if a band breaks up, they cannot be held to their contract (of course, it depends on the contract). from what i understand, there will be no greatest hits albums or live albums for soundgarden. there's no interest, and i also know that they don't have anything just lying around that they'd want to use (why the hell do you think we got those sucky b-sides on the last few singles?! ;-> ) --caryn ------------------------------ Date: Mon, 5 May 1997 21:25:08 -0400 From: Rebekah Henderson Subject: SG pics I found some SG pics that are kinda cool. Most of them are on Seth's site, but there are a couple that aren't. They're at: http://solaris1.mysolution.com/~noj/sndthumb.html May Soundgarden be with you. Rebekah :) ------------------------------ Date: Tue, 6 May 1997 11:25:12 +1000 From: justin nicholls Subject: laughing every time I choke... On Mon, 5 May 1997, Caryn Rose wrote: > > Just wondered if Soundgarden has fulfilled their recording contract > with A&M. > If not, will they be cranking out a live album or (god > forbid) a greatest > hits compilation? > > if a band breaks up, they cannot be held to their contract (of course, it > depends on the contract). from what i understand, there will be no perhaps any solo ventures produced and released by the band members individually will be counted towards the number of albums left on their contract (I have no idea how these things work)? I know that as soundgarden they were still signed for at least two more records, if not three, with a&m. but I would doubt that too, since I would guess that their contract dissolved when they broke up. not that they would have looked forward to the day, but I think they would have been smart enough to know that one day it would happen. if they don't owe a&m any more records, then look for a big signing rush whenever chris, kim, matt or ben decide to put something out. ----------------------------------------------- in your real life, treat it like it's special in your real life, try to be more kind in your real life, think of those that love you in this real life, try to be less blind words by vernon reid ---------------------------------------------- ------------------------------ Date: Mon, 5 May 1997 20:43:36 -0600 From: Scott Brooks Subject: Seth's site? I have a question. Where is Seth's site? It sounds like it rocks all. Are there some places on the internet with .WAV files of SG songs, or at least clips? ------------------------------ Date: Mon, 5 May 1997 19:32:49 -0700 From: Michael Roberson Subject: Misc. Junk, my first post Hey sommsters, I've been part of this list for several months, but I never took the time to write. Just lazy, I guess. I have been reading all of the posts, though. I must say, I never knew Soundgarden before I joined. I would have spoken up much earlier, by I always thought, "I've got nothing to say." Anyway, I was REALLY wondering about Chris's middle name. Someone says John, someone says Joseph. I while ago, I'd swear someone suggested James. I don't know, but I hope someone does. Thanks, Mike Roberson ------------------------------ Date: Mon, 5 May 1997 22:48:41 EDT From: seth Subject: Re: Seth's site? > I have a question. Where is Seth's site? It sounds like it rocks all. Are > there some places on the internet with .WAV files of SG songs, or at least > clips? The website is at http://www.sgi.net/soundgarden/ and yes, there are audio clips there. seth ------------------------------ Date: Mon, 5 May 1997 23:24:00 -0500 From: MICHAEL APPLE Subject: Re: CrappyCorporateMags Date sent: 5-MAY-1997 23:06:16 >> The reason that petitions and other such devices work is by scaring >>the magazine (or whatever) into thinking that they will lose business. If >>you threaten a business with a boycott (or whatever), they become afraid >>that they will lose profits and so they change their policies. That's how >>you can force changes on magazines, like Rolling Stone. > >Michael, it does suck that Soundgarden was left off the list. Yes, some >people will take that article as "the word" of what the top 200 >alternative albums are. Many more, will perhaps realize that Soundgarden >is notable by omission. >But the boycott you suggest cannot bring journalism any closer to truth. >The article *was* opinion. Rolling Stone should have labeled it as such, >but they didn't. It's their prerogative as a magazine that has the cash >to back it up. If such a boycott as you suggest were to have its intended >effect, you would be trying to dictate a periodical's opinion. Quite >simply, this is unreasonable. >For news sources to have the ability to express opinions is integral to >their viablity as news sources. If you wish to change this affairs, >you'll have a hard time. As a journalist, I'll be working against you. > -- Ben I personally boycott Rolling Stone anyway (and have ever since they printed that bogus article about seeing needlemarks on Layne Staley's arms) , but I'm just speaking hypothetically here. It was posted that it was impossible to "force" a periodical to do something, or not do something, or apologize for something, but it IS completely possible for people to do that. There's an expression: "Freedom of the press only extends to those who actually OWN a printing press." Just because someone has money, they can force their opinions on other people and push it as fact. That's why we have boycotts and other protests. These are methods that can be used to check or balance unfair or false media. Just because some bigshot with a wad of cash wants you to believe something, it doesn't mean you have to take it. I believe that you should always protest when false information, or unreliable information is printed as fact. Rolling Stone claims to be the authority on rock music, and not everyone has had access to the information that RS is full of shit. You have to look out for people and make sure that they aren't being fed lies by the press. Soundgarden is one of the most important bands of our generation. They definitely deserve to be recognized as such. Their music influenced countless bands and completely changed the metal/hard rock/grunge/ alternative music scene. Leaving them out is saying that they aren't worthy of our notice, and that's just wrong. But, I'm not going to start a boycott. Rolling Stone IS a worthless magazine afterall. I was just making an observation of the effectiveness of boycotts and protests. If something happened, like the federal government took control of all major papers in the country and used them as propaganda machines, THAT would be something to boycott. But I think that this top 200 albums thing is worthy of our notice. We should at least let people know about the contributions Soundgarden has made. Hey, let's all write articles about Soundgarden and post them on the Usenet. :) Just kidding. Sorry about this whole controversy, folks. This is the last post I'll make concerning it. Now back to your regularly scheduled programming... :) Later, Michael Apple ************************************************** Pale in the flare light The scared light cracks and disappears And leads the scorched ones here And everywhere, no one cares the fire is spreading And no one wants to speak about it. - "4th Of July", Soundgarden ************************************************** ------------------------------ Date: Mon, 5 May 1997 20:34:35 PDT From: "Koggle :)" Subject: SG Webring attention all web page owning sommsters.. i'm attempting to start a soundgarden webring.. i checked out the webring homepage and was surprised that a soundgarden webring wasn't already set up.. my homepage is http://www.geocities.com/SunsetStrip/Alley/6953 and if i've done this right, you should be able to add your own page to the soundgarden webring... *fingers crossed* thanks.. :) --------------------------------------------------------- Get Your *Web-Based* Free Email at http://www.hotmail.com --------------------------------------------------------- ------------------------------ Date: Mon, 5 May 1997 23:26:16 -0400 From: Adam Nowinski Subject: More Rolling Stone Mudslinging Hello Sommsters--- The latest issue of Rolling Stone, with U2 on the front cover, has the "inside scoop" on the deep dark secrets of how and why Soundgarden broke up. My friend, knowing how much I like the band, threw the magazine on my lap and laughingly said, "You thought the articles on AIC and Eddie Vedder were trashy, read this". Once again, Rolling Stone somehow manages to amaze me. Rolling Stone comes up with undisclosed sources close to the band and such. They don't even know how old the band members are, "...Charles Peterson, the former in-house photographer for Sub Pop whose blurred 1985 shots of dark maned teenage Chris Cornell...". They also supposedly interviewed Daniel House, head of C/Z records. Wasn't he the fellow that Ben jumped into the crowd to kick butt on during Hater's Halloween show? Rather odd, and then later in the article it says,"...Shepherd had dived off the stage during a Seattle performance with his side band, Hater, and physically attacked a heckler." So even when RS supposedly had a source, it would probably be a biased one. And one last thing, the article indicates that one of the reason's that they broke up was because of "disappointing" record sales. Sorry, but I don't think the former members of Soundgarden are as egotistical and greedy as the corporate, dirt digging, taploid-style writing journalists for RS. Sorry for more continued ripping--- Adam or Jesus FYI---you can email rolling stone to add comments to be considered for their feedback section at the beginning of each issue at: rollingstone@echonyc.com. You are supposed to include email address and phone #. ------------------------------ Date: Tue, 6 May 1997 13:36:13 +1000 From: justin nicholls Subject: no-one sings like you anymore... addendum to last week's songbook: I got around to watching _louder than live_ over the long weekend (public holiday on monday here in queensland) and noted that chris does in fact play guitar when the band performs 'gun'. I'm guessing that he also plays a guitar track on the recorded version, since he originally wrote the music for the song. safe bet? anyway, number three is the faceless poison itself, 'new damage'. I hope you enjoy it... details - 'new damage', track twelve from soundgarden's best record _badmotorfinger_, runs for a determined five minutes and forty seconds; music written by kim thayil and matt cameron, lyrics written by chris cornell. the record was produced in tandem by terry date and the band themselves. ron st. germain, a guy who worked extensively with another great band by the name of living colour, mixed the record; engineering duties also fell to date. the album was recorded during the spring of '91 (sounds like a bryan adams' song, doesn't it?) at two different studios - studio d in california and bear creek studios in seattle. 'new damage' was never released as a single or b-side, for which I'm thankful. to the best of my knowledge it was also never performed live, which is a little sad. music - this is truly one of the most powerful songs ever recorded by soundgarden over their ten year career. that much is fact. somehow on an album full to bursting of stellar songs, 'new damage' manages to stand tall; providing the perfect conclusion to perhaps the heaviest album to come from that small township of seattle. the dynamics and textures forged by the band are, to my mind, nothing but brilliant. perfect arrangement, perfect mixing, perfectly conceived. I'm sure that the emotions we all feel when we hear this song are a much better measure than anything I could say here, but I'll try and convey what this song means to me and why. hopefully you'll understand. where to start? the introductory thirty seconds alone leave me breathless. from the opening note I can literally feel the crushing weight of 'new damage' threatening to overwhelm me. ben's bass and matt's snare lay the foundation and set the mood while kim's staccato guitar provides such dissonance to multiply the song's immense mass tenfold. then chris' howl brings more layers of noise, creating a sense of desperation before the first word is even sung. similar to 'incessant mace', the song steadily descending riff is hypnotising from the start, drawing you into that blasted landscape from which so many soundgarden songs have been born, pulling and clawing at your mind until you give in. at least that's how I hear it . like many of their songs, soundgarden have again crafted a song whose simple rhythm is relentless, but whose colour and detail is no less bright because of it. the essence of 'new damage' lies mostly in it's verse riff; a riff that loses none of it's potency or brutality no matter how many times you've heard it. but what could have been a plodding and possibly lacklustre progression in any other band's hands is pure menace in the hands of kim, chris and ben. not to say that it is only the band's talent that makes the song listenable, but when added to the mind-numbing dimensions of the song...well, sometimes the band just flat out astonishes me :) the first verse, replete with exclamations from matt's cymbals, grinds away, leading seamlessly into the song's chorus (perhaps because matt declines to herald it's arrival with a cymbal crash). hard to describe, really. the chorus is like a low warning siren, while the verse sounds like gravity itself, forming a contrast between the parts but still inexorably linking them together to form the crushing whole. kim and matt really struck gold with this one. the chorus is followed by a short lull leading back to the verse riff, but each time the song's only respite is interrupted by yet another screech from kim's guitar. at roughly 2:00 we are treated to an awesome extended chorus, a section that involves more guitar tracks than the previous choruses but manages to come in low, waiting for kim's solo. and in true kim style, he comes from an unlikely angles (although perhaps not unlikely for him). instead of blasting in with some big fretboard kamikazie attack, kim begins by simply adding his own guitar to the rhythm guitar riff, but with perhaps a little more gusto. by about 2:53, however, kim begins to let loose in a way I don't believe he ever repeated on any subsequent record. I have no idea how he does it (guitar tech please?). he starts off with a few blues-type licks (excellent, but standard) but then follows with a number of totally strange tones that almost make his guitar sound like it's talking. not a talk-box, something different. I took it for granted until I listened to the song through my headphones about ten times in a row. now I marvel. the pure bliss of these musical shards is then followed at 3:20 by what I consider the most beautiful single note I've ever heard from kim. maybe the best lead break he's ever put down on any record. take a listen for yourself and see what I mean. thankfully, this is not the end. the band then dive back into a repeat of the final verse and chorus, which is then concluded by an almighty jam. pretty breathtaking to say the least. the music seems to be coming from all directinos, pulling and shoving. it really is an assault on your senses if you're in the right mood. final notes? chris' voice is impeccable; coming from the depths of hell as they are. I'd wager this is how we all imagine his voice to sound. the vocals are clear, although there is some small amount of reverb. kim's guitar alternately slithers, rattles and moans across the song's mix at intervals, providing a counterpoint to the song's methodical stomp. he really shines on this song. ben's bass is not prominent in the mix (unlike his bass part on track three 'slaves and bulldozers'), but I'm sure the song would sound thin without his unique contribution. from a bass player's standpoint, the song is probably not difficult, so I'm guessing that ben was content to let the flow of the song dictate his playing, and not a desire to out-play his band mates. effortless rolls and dizzying timing form matt give 'new damage' the swing it needs. I also love that a song with this sort of tone and attack is the final track on _badmotorfinger_. it is the perfect end to a remarkable record, leaving the listener shaking his or her head at the pure force, beauty and grand majesty that is soundgarden. then, of course, there is the alternative nrg version . sorry, but I can't help myself. produced by michael beinhorn and mixed by chris, this slightly reworked version features brian may of queen on lead guitar and was included on the _alternative nrg_ compilation (put together by greenpeace). soundgarden re-recorded their parts at ol' bear creek studios while may mailed his in from pie studio, ny. as heavy as the original is, the alt. nrg version is even heavier. it is somehow more crushing, filled with more venom. the drums are more prominent in the mix (interesting aside: is this the first soundgarden song matt used a keplinger snare on?), chris sings like a chorus of banshee and kim's guitar manages to be doubly scathing. having said that, the parts added by brian may aren't particularly entrancing imho. he comes in first at 2:25, :29, and :31 with a couple of little bleeps and then solos over the top of kim's bridge (2:44-3:19). sorry mr. may, but I would have preferred to hear more from kim. this is followed by a superb return to the first verse and then more noodling from may, who also (irritatingly) get in the last note. the band, however, seem to like what may brought to the table: (chris) "the song's going along, it sounds like us, then all of a sudden queen is on our song...it's an amazing solo, but it's funny in a way, like a weird nightmare you might have." (kim) "you start realizing how guitarists really have peculiar habits and often what makes guitars sound interesting or good is that they have their own distinct schtick, their peculiar habit. take them out of their element, and they can sound really strange. (guitar player, june '94). despite my own lukewarm feelings towards the somewhat buttrock contributions from england, this version is (to quote a notable list lurker) strong as shit. perhaps not as good as the original, but still wonderful in it's own way. either beinhorn got more out of them than date could or the band grew into the song a little more, but either way I'm happy with what came from the re-recording. makes you think what might have happened if they had ever made a second studio attempt at other soundgarden material... lyrics - woah. all that about the music, and now little to say about the lyrics. this is becoming a horrible pattern. oh well, my only excuse is that there isn't much to work with anyway. lyrically, to say that the song is pretty bleak would be an understatement. but at the time of _badmotorfinger_ you couldn't expect flowers and sunshine from chris cornell and his lyricbook. here's the lyrics for those of you who are badmotorfingerly challenged. when new damage comes it's a faceless poison a new world order it's new damage done the wreck is going down get out before you drown the wreck is going down get out before you drown when new damage comes it's a new word for plague a new world order a new word for hate the wreck is going down get out before you drown the wreck is going down get out before you drown. if you don't get the gist of it by now, something is wrong. I find a lot of similarities between the lyrics (not to mention the overall tone) of 'new damage' and those of 'limo wreck'. maybe 'limo wreck' is some sort of companion piece or something . I'm guessing that this is a pet topic for chris, since he seems to sing about the breakdown of society a lot, and when he does it is pretty forceful. But while the song does deal with political/societal issues, it doesn't come across as preachy. chris and matt explain: "...the beauty of something like 'new damage' is that if you can say something like that with the smallest amount of words possible, it has more impact and it becomes less of a sermon..." says chris. "the first time I read 'new damage', I was like, politically it totally speaks for me," adds matt. "I think it speaks for the whole band - as do most of the other songs. We totally trust chris' instincts as a lyricist and we don't even have to think twice about them." that's it for this week, fellow sommsters. next week's should be better, as long as I can get some assignments underway before then. btw, would some kind person forward me reviews of the most recent hater show? I'm a little too busy right now to check the archive and would appreciate some help (keep in mind that I may have missed some mail in the listserv move, and I don't know if there even *were* any reviews). ----------------------------------------------- in your real life, treat it like it's special in your real life, try to be more kind in your real life, think of those that love you in this real life, try to be less blind words by vernon reid ---------------------------------------------- ------------------------------ Date: Mon, 5 May 1997 22:32:24 -0500 From: tonerkin Subject: A site for sore eyes At 10:48 PM 5/5/97 EDT, you wrote: >> I have a question. Where is Seth's site? It sounds like it rocks all. Are >> there some places on the internet with .WAV files of SG songs, or at least >> clips? > >The website is at http://www.sgi.net/soundgarden/ and yes, there are >audio clips there. > >seth And yes it does indeed rock!!!!! Check it out!! And it comes with a money back guarantee.....you don't like it, you get the same amount of money it cost you...a big fat zero!!! As far as the "J" in Chris's name.....aren't there several people who think it stands for Jesus! ah oh! Is that blasphemy??...hope the anti-christ doesn't come get me. And one more thing to all of you that think boycotting a magazine is a bad idea or fruitless or whatever than what do you think of Chris's tirade at the Patriot Center show this year in November when he suggested that people cancel their subscriptions and not to read Rolling Stone??? toni ------------------------------ End of SOMMS Digest - 5 May 1997 to 6 May 1997 **********************************************