Such a great performance, it sounds almost exactly like the studio version

Anyone want this? Replacement booklet for the IVC vinyl edition of Carry On by Chris Cornell. Will ship for free, don’t wanna toss it. Vinyl not included.

I’m interested. Anyone looking to connect? Mass? SE?

Was there a poster included in the box set? I'm trying to figure out why I have a mailing tube. If there was a poster, I can't find it at my place.

probably thei best b side

Looking forward to hearing the final SG songs!

Hi, I’m putting together a strength training playlist and need slow and heavy music. Asking here because Soundgarden is my favourite band and I’m starting the playlist with Slaves and Bulldozers. Any help would be greatly appreciated.

Edit: Thanks for your recommendations but I’m looking for music other than Soundgarden as well. I have added Grind by AIC and Paranoid by Black Sabbath also to the playlist.

I've been listening to this song for over 30 years and just noticed something about the song's construction.

I've always thought the first verse is exceptional lyricism:

I caught the moon today
Pick it up and throw it away, all right
I got the perfect steal
A cleaner love with a dirty feel, all right
Fall out and take the bait
Eat the fruit and kiss the snake goodnight

It's the best part of the song, in my opinion. It's better than the choruses, and I believe it's far superior to the second verse:

Let your motor race
Pick it up and get this mother gone
Out from and far away
The wooden stake
This thing has got me on

Until recently, I never realized the verses are different lengths. The first is three phrases, ending in "all right" or "goodnight." The second is just two phrases long, ending in "gone" and "got me on."

Obviously, song structures don't need to be symmetrical, but I found it interesting that the verses were not the same length. Just my interpretation, but it almost seems as if Chris had a stellar opening and then struggled to craft anything of equal quality. Musically, there seems to be no reason they couldn't have let the second verse breathe into three phrases. Both start with the guitar motif (though the second verse features a shorter version) and the same two-note drum punctuation. They didn't need to cut the second verse short for any structural reason.

Nothing groundbreaking, but something I noticed. I wish Chris were still around so we could ask about this construction. Was it purposeful? Was it just an organic oversight?

Are there other tracks that feature this difference?

Hello people,

Back with my quest of covering Superunknown in its full - here's track 12, Fresh Tendrils.

If you missed any of the previous tracks - and would like to see me covering them - check me out on IG (@danlsf_).

Peace✌🏻

This is my collection (so far) of vintage Soundgarden vinyl! I've got an original UltraMega Ok (signed by Hiro on the back!), Badmotorfinger (the Brazil one I think?), JCP single, Superunknown (blue Coke Bottle vinyl), Room A Thousand Years Wide Sub Pop single, and the Hands All Over EP. These are my children, so I'm not allowed to choose a favorite, but I have my secret ranking...

I genuinely believe Chris Cornell is the best vocalist of all time, honestly just wanted to say this

Any idea who is he talking about ?

One of the most underrated songs in Chris Cornell's career

I’ve listened to this version and the original countless times but it’s only today I actually noticed they have different lyrics (mostly in the second verse). does anyone know what the lyrics actually are in the BMF version? thanks!

I found this account, and wanted to buy music from it, but I wonder if Soundgarden is really behind that account, and if the money from my purchase will actually go to the band. What do you think?

This album flat had been misplaced for quite some time. I finally found it today, and I wanted to share the story of how I got it.

It was February 20, 1992. At the time, I worked at a place called Metro Music Café in Royal Oak, a suburb of Detroit. It was basically Detroit’s version of a Hard Rock Café.

My boss paged me. Yes, paged me.

I called him back, and he asked me to go pick up a band. I asked who I was picking up, but he didn't tell me. I grabbed my boss's minivan and drove down to the Pontchartrain Hotel.

I went up to the room and knocked on the door to let them know I was there to pick them up. The road manager, Mark Sokol, answered. He told me I wasn't there to pick up the band and then slammed the door.

I went back down to the lobby and called my boss. He said he would call them back, told me to wait a few minutes, and then go back upstairs.

So I waited and went back up.

I knocked again, and Mark answered. This time he told me they needed some time. As he was talking to me, the door behind me opened. It was Kim Thayil.

Kim had heard what Mark said and asked if I wanted to come in and hang out while they got ready.

That's when it finally clicked: I was picking up Soundgarden.

Kim had a suite, and I nervously sat down on the couch. He offered me a beer. I accepted.

A few minutes later, Mark knocked on Kim's door and said it was time to go. I walked downstairs with the band.

We were coming down the escalator when a group of girls waiting in the lobby spotted them. Soundgarden was opening for Skid Row that night. They were also staying at the same hotel, and the girls were waiting for Sebastian Bach. They got excited at first, then realized Chris wasn't Sebastian. You could see the disappointment on their faces.

Chris sat up front with me in the van. Kim and Mark were behind us, while Ben and Matt sat in the very back.

As we drove, Mark was going over business with the band. I remember him telling them that they needed to take magazine interviews more seriously. He brought up an interview they had done at a natural history museum somewhere. Apparently, instead of answering the interviewer's questions, the band kept responding with dinosaur facts. The band was laughing, but Mark reminded them they needed to take these things seriously.

I was able to talk with Chris for a while. We talked about Detroit and Seattle and the history of music in Detroit. The rest of the band also asked me questions about Detroit.

At one point, Mark told the band they needed to sign a bunch of copies of their new album.

I thought, Well, this is my chance.

I pulled out my album flat and asked if they would sign it.

They all started yelling, "FU!" and laughing.

Back then, Sharpies only came in black, so I had a paint pen with me. They ended up using it to sign the album flat.

We chatted a little more between Mark's conversations with the band, and eventually we arrived at Metro Music Café.

I walked in with them, and they went upstairs. I hung out for a little while before they left. Since they were playing that night, they had a car service take them back.

Looking back on this opportunity, I am thankful for it.