AJFOne’s Customs 6/3 – Broken links????
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I agree more Soundgarden and a late thank you for the ones already. Chris was totally a class act. An awesome voice like that, holy hell, how can anyone not miss him. R.I.P. His memory will always live on.
LATEST UPDATE 6/3 Soundgarden 2 pack
GUITAR/REDUCTIONS: Mb1nightmare
DRUM ANIMATIONS: MrBurpler
“Zero Chance,” is a mathematical puzzle that goes 11/8, 11/8, 15/8 to 11/8, 11/8, 9/8 to 4/4 and 5/4, and that just brings us to just after the first snare drum crack, but it’s not math that makes the song amazing, it’s the visceral impact of the song, the emotion it packs within what would otherwise feel like an exercise.
GUITAR/REDUCTIONS: Mb1nightmare
DRUM ANIMATIONS: MrBurpler
A thing of otherworldly, unsettling grace, Soundgarden never recorded anything else quite like “Head Down,” though it could certainly be located as a genesis point for some of the explorations that would later occur on Down On The Upside. Superunknown is a primarily dark affair, not as screeching or hard-edged as Badmotorfinger, but plenty grinding and despairing in its own ways. “Head Down” is too unnerving to be considered a moment of lightness from all that, but it feels like a detour that simultaneously deepens the character of the album. It was with psychedelic tracks like this that Soundgarden marked the borders of their new expansive sound. It glides rather than thrashes, but it seeps out of the same darkened mind and heart as the rest of Superunknown. “We hear you cry/ We hear you wail/ We steal that smile from your face,” Cornell sings, later ending the song with “Head down, head down, head down, hide that smile/ Head high, head high, head high, you got to smile.” It’s all delivered in a smooth, almost-detached lilt, proving that sometimes the best way to be haunting is not through heavy guitars and screams, but through the misleading sweetness of a strangely tuned guitar and an enticing rhythm.
HELL YES, ONE OF MY FAVORITE SONGS EVER (Head Down)! Just played through on drums and had an absolute blast. You’re the effing best, AJFOne23!
LATEST UPDATE 6/9 Frank Zappa – Teen-Age Wind
GUITAR/BASS: nsw1-6
The opening cut on the 1981 album You Are What You Is, “Teen-Age Wind” addressed the American youth’s request for freedom without the burden of responsibility. All the teenaged character wants to do is go to a Grateful Dead concert, sniff glue, and get ripped. He also mentions going “to a midnite [sic] show of 200 Motels,” which prompts a guest appearance by Jimmy Carl Black reciting some key lines from Zappa’s movie script, such as “Opal, you hot little bitch!” and “You ain’t the devil!” After this first part in a pop mood, the piece takes a turn toward the rhythmically complex for the conclusion. Zappa mocks teenagers in his closing chorus: “Free is when you don’t have to pay for nothing/Or do nothing/We want to be free/Free as the wind,” scorching Kris Kristofferson’s hit “Ride Like the Wind” on the way.
LATEST UPDATE 6/10 Soundgarden 2 pack
GUITAR: Kassu
“Room A Thousand Years Wide”, a heavy, sludgy riff wedded to a lumbering rhythm that somehow feels slow and fast at the same time. Vocally, it’s relatively sparse—only a couple of minimal verses that segue into a refrain comprised of only three words: “Tomorrow begets tomorrow.” It traffics in the lyrical ambiguity that characterizes so much of the band’s music, with oblique references to “one who loved what love denied.” “Room A Thousand Years Wide” is what Soundgarden does best: Ambitious hard rock with the head of a music geek and the heart of a headbanger.
GUITAR/REDUCTIONS: Cheesecake Militia
VOCALS: Colonel 32dll
“Mind Riot”, which combines a good bass riff intro with guitars entering in turn with a fine effect, and when drums finally enter with an odd tempo, it all resolves with a really cool vibe going that is kind of bluesy and somewhat Eastern influenced.
Brilliant. Thanks for these, sir. Great to see so much Soundgarden in the game now. Not so great is the catalyst.
thanks. yes the motivation is sad but I’m gaining an even greater appreciation for Chris’ work than I already had.
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