Soundgarden made a place for heavy metal in alternative rock. Their fellow Seattle rockers Green River may have spearheaded the grunge sound, but they relied on noise rock in the vein of the Stooges. Similarly, Jane's Addiction were too fascinated with prog rock and performance art to appeal to a wide array of metal fans. Soundgarden, however, developed directly out of the grandiose blues-rock of Led Zeppelin and the sludgy, slow riffs of Black Sabbath. Which isn't to say they were a straight-ahead metal band. Soundgarden borrowed the D.I.Y. aesthetics of punk, melding their guitar-driven sound with an intelligence and ironic sense of humor that was indebted to the American underground of the mid-'80s. Furthermore, the band rarely limited itself to simple, pounding riffs, often making detours into psychedelia. But the group's key sonic signatures -- the gutsy wail of vocalist Chris Cornell and the winding riffs of guitarist Kim Thayil -- were what brought them out of the underground. Not only were they one of the first groups to record for the legendary Seattle indie Sub Pop, but they were the first grunge band to sign to a major label. In fact, most critics expected Soundgarden to be the band that broke down the doors for alternative rock, not Nirvana. However, the group didn't experience an across-the-board success until 1994, when Superunknown became a number one hit.
For a band so heavily identified with the Seattle scene, it's ironic that two of its founding members were from the Midwest. Kim Thayil (guitar), Hiro Yamamoto (bass), and Bruce Pavitt were all friends in Illinois who decided to head to Olympia, Washington, to attend college after high-school graduation in 1981. Though none of the three completed college, all of them became involved in the Washington underground music scene. Pavitt was the only one who didn't play -- he founded a fanzine that later became the Sub Pop record label. Yamamoto played in several cover bands before forming a band in 1984 with his roommate Chris Cornell (vocals), a Seattle native who had previously played drums in several bands. Thayil soon joined the duo and the group named itself Soundgarden after a local Seattle sculpture. Scott Sundquist originally was the band's drummer, but he was replaced by Matt Cameron in 1986. Over the next two years, Soundgarden gradually built up a devoted cult following through their club performances.
Pavitt signed Soundgarden to his fledgling Sub Pop label in the summer of 1987, releasing the single "Hunted Down" before the EP Screaming Life appeared later in the year. Screaming Life and the group's second EP, 1988's FOPP, became underground hits and earned the attention of several major labels. The band decided to sign to SST instead of a major, releasing Ultramega OK by the end of 1988. Ultramega OK received strong reviews among alternative and metal publications, and the group decided to make the leap to a major for its next album, 1989's Louder Than Love. Released on A&M Records, Louder Than Love became a word-of-mouth hit, earning positive reviews from mainstream publications, peaking at 108 on the charts, and earning a Grammy nomination. Following the album's fall 1989 release, Yamamoto left the band to return to school. Jason Everman, a former guitarist for Nirvana, briefly played with the band before Ben Shepherd joined in early 1990.
Soundgarden's third album, 1991's Badmotorfinger, was heavily anticipated by many industry observers as a potential breakout hit. Though it was a significant hit, reaching number 39 on the album charts, its success was overshadowed by the surprise success of Nirvana's Nevermind, which was released the same month as Badmotorfinger. Prior to Nevermind, Soundgarden had been marketed by A&M as a metal band, and the group had agreed to support Guns n' Roses on the fall 1991 Lose Your Illusion tour. While the tour did help sales, Soundgarden benefited primarily from the grunge explosion, whose media attention helped turn the band into stars. The band was also helped by the Top Ten success of Temple of the Dog, a tribute to deceased Mother Love Bone singer Andrew Wood that Cornell and Cameron recorded with members of Pearl Jam.
By the spring release of 1994's Superunknown, Soundgarden's following had grown considerably, which meant that the album debuted at number one upon its release. (A year before its release, Shepherd and Cameron released an eponymous album by their side project, Hater.) Superunknown became one of the most popular records of 1994, generating a genuine crossover hit with "Black Hole Sun," selling over three million copies and earning two Grammys. Soundgarden returned in 1996 with Down on the Upside, which entered the charts at number two. Despite the record's strong initial sales, it failed to generate a big hit, and was hurt by grunge's fading popularity. Soundgarden retained a sizable audience -- the album did go platinum, and they were co-headliners on the sixth Lollapalooza -- but they didn't replicate the blockbuster success of Superunknown. After completing an American tour following Lollapalooza Soundgarden announced that they were breaking up on April 9, 1997, to pursue other interests.
During the late '90s and 2000s, each member kept very busy. Cornell released three solo albums, also recording and touring as Audioslave with former members of Rage Against the Machine. Cameron toured his Wellwater Conspiracy project, and also played and recorded with Smashing Pumpkins and Pearl Jam. Thayil collaborated with a wide range of artists, including Cameron, Dave Grohl, Steve Fisk, and Boris. Meanwhile, Shepherd helped out with Wellwater Conspiracy, and also played and recorded with Mark Lanegan of Screaming Trees. Finally, in 2010, the band announced a reunion with a few live shows during the summer (including that year's edition of Lollapalooza) which preceded a compilation, Telephantasm, in the fall. In 2011, Soundgarden released their first live album, Live on I-5, which featured material recorded during the band's supporting tour for Down on the Upside. All of this activity would be the prelude to Soundgarden's full-on return in 2012, when they released their sixth album, King Animal, in the fall of that year.
Soundgarden's finest hour, Superunknown is a sprawling, 70-minute magnum opus that pushes beyond any previous boundaries. Soundgarden had always loved replicating Led Zeppelin and Black Sabbath riffs, but Superunknown's debt is more to mid-period Zep's layered arrangements and sweeping epics. Their earlier punk influences are rarely detectable, replaced by surprisingly effective appropriations of pop and psychedelia. Badmotorfinger boasted more than its fair share of indelible riffs, but here the main hooks reside mostly in Chris Cornell's vocals; accordingly, he's mixed right up front, floating over the band instead of cutting through it. The rest of the production is just as crisp, with the band achieving a huge, robust sound that makes even the heaviest songs sound deceptively bright. But the most important reason Superunknown is such a rich listen is twofold: the band's embrace of psychedelia, and their rapidly progressing mastery of songcraft. Soundgarden had always been a little mind-bending, but the full-on experiments with psychedelia give them a much wider sonic palette, paving the way for less metallic sounds and instruments, more detailed arrangements, and a bridge into pop (which made the eerie ballad "Black Hole Sun" an inescapable hit). That blossoming melodic skill is apparent on most of the record, not just the poppier songs and Cornell-penned hits; though a couple of drummer Matt Cameron's contributions are pretty undistinguished, they're easy to overlook, given the overall consistency. The focused songwriting allows the band to stretch material out for grander effect, without sinking into the pointlessly drawn-out muck that cluttered their early records. The dissonance and odd time signatures are still in force, though not as jarring or immediately obvious, which means that the album reveals more subtleties with each listen. It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition.
Words - Steve Huey
Their second A&M album dates from late 1991 and shows just how far Soundgarden had come in developing their sound as well as their song writing. The production on Badmotorfinger is also a major step upwards and this helps to focus the ears on just about every other aspect of what made Soundgarden such an important band – yet it never diverts attention from what makes this such a thoughtful as well as art-full album. This is really brilliant hard rock that heralded a new way forward for the band.
King Animal is just the kind of album you would expect from Soundgarden, it is expertly performed and reflects their experiences over they long-hiatus punctuated, career. It’s the chemistry that makes this work, they sound like, and are like, a band that know each other, musically, inside and out. It’s full of great riffs and Chris Cornell’s trademark vocals that make it seem like they’ve never been away.
Superunknown was a breakthrough in many ways. Not only did the album bring Soundgarden a new audience, it dramatically expanded their vision, as well as their accomplishments. If Down on the Upside initially seems a retreat from the grand, layered textures of Superunknown, let it sink in.
Soundgarden’s second album and their first for A&M Records in 1990 takes them a whole lot closer to mainstream Metal with Chris Cornell’s wailing vocals atop the huge sounding, riff laden, under-belly. It includes what have become Soundgarden essentials – Hands All Over, Full on Kevin's Mom, a punk classic and Big Dumb Sex.
This 2010 compilation is a perfect place to start exploring all things Soundgarden. Not only are their A- sides and hits there’s also live recordings, BBC sessions, and rarities, including a previously unreleased outtake “Black Rain.” If someone you know has never listened to the band point them in the direction of this record, it will tell them most of what they should know. It is the very essence of Soundgarden and is a worthy homage to a band that has been so influential.
This 2011 live album came out hot on the heels of Soundgarden’s 2010 reunion, but is in fact a 1996 live recording that failed to see the light of day at the time when the band broke up. It features many tracks from their 1996 release, Down on the Upside. With a decade or more behind them the band demonstrate a great deal of polish and power and is a worthy rendering of Soundgarden a full tilt.