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Superunknown. Soundgarden.
1994, A&M. Producer: Michael Beinhorn and Soundgarden.
Purchased, 1995.
IN A NUTSHELL: An album that is complex yet direct, mathematical yet artsy, loud and quiet and always compelling. I can’t say enough about drummer Matt Cameron, who keeps the changing beats steady and accessible. Guitarist Kim Thayil and bassist Ben Shepherd bring the crunch and bounce, but the handsome singer Chris Cornell often steals the show with his wide-ranging voice – maybe the best in rock in the past thirty years.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I’ve played music for a long time. Like many kids I banged on toy guitars and toy drums, blew through toy trumpets, and pounded on my family’s upright piano.
[captionpix imgsrc=”https://100favealbums.net/wp-content/uploads/2017/01/first-band.jpg” captiontext=”The author playing guitar in his first band, ca. 1970, with sisters on tambourine and horn-ette and cousin on drums. As is typical, the band broke up due to squabbles over use of the drum chair and incompatible bedtimes.”]
But then shit got real beginning in second grade, when I started going to Mrs. Bombgardner’s house on Canal St. for weekly piano lessons. 
This lasted until the summer of 1976, when I began learning the trombone through my school district’s band program before entering 4th grade.
In these beginner lessons in piano and trombone – after we figured out how to make a sound on the trombone – most time was spent learning to read and understand the written music that was placed in front of us. All those numbers and letters and circles and dots and lines and Italian words … it all meant something and someone had to teach us what.
Learning to read music progresses exactly the same way as learning to read words does. 
Just as books for beginning readers have large letters, few words and cute pictures, beginner music has large notes, short songs and cute pictures. Easy concepts are introduced; repetition is stressed. Beginning word readers spend a lot of time on words that rhyme and opposites[ref]Having read lots of kids’ books to my kids, I’ve always been amused that children’s authors get credited as authors on books of rhymes or opposites! “I wrote this book: let me read it to you. ‘Tall. Short.’ So I had the artist draw a giraffe and a mouse. Continuing … ‘Large. Small.’ There she drew an elephant and an ant.”[/ref]; beginning music readers spend a lot of time on “Hot Cross Buns.”
As you read musical notes, you develop muscle memory. Your fingers[ref]And eventually your feet, too, when you start using pedals.[/ref] learn to move across the piano keys based
on what your eyes see. On the trombone, your arm learns where to slide, and your lips and jaw learn how to buzz and adjust, respectively. With practice and repetition you learn what the numbers and symbols and Italian words mean, and you start to play increasingly complex music while spending less time thinking about the notes, or what your fingers (and feet), or arm and mouth are doing. Eventually, you can look at a new piece of music and play it pretty well the first time you try without really thinking much at all – a skill known as “sight-reading[ref]Skillfulness at sight-reading is one of the aspects of musicianship, along with tone and speediness, that begins to separate really good high school band musicians from average ones.[/ref].” This is, again, similar to learning to read words: capable readers no longer drag a finger along the text and sound out letter combinations – the decoding and comprehension are immediate.
This is about the level of musicianship I reached on the trombone when I stopped playing in high school – sight-reading well with a good-sounding tone. The muscle-memory I developed over 8 years was ingrained to a degree that to this day if I see certain bass clef notes, my arm still wants to move along; my jaw still stiffens or relaxes.
After high school I started learning to play the bass, but I didn’t start at my local fourth grade band room (which would have been really creepy), and I didn’t look at any notes. I learned from friends, like Dr. Dave, 
and he didn’t write anything down for me, he just showed me where my fingers should go, and I just sort of figured out what sounded good by playing along to Beatles and Tom Petty songs for several months. Eventually I became able to play along by ear with most any rock song, and to jam along on the blues with strangers at local dive bar open mikes. On the trombone, I could never play anything by ear, I always needed music. However, I could play some pretty complex trombone pieces by sheet music[ref]By the way, take a listen to my old trombone teacher, James Erdman, as the soloist in The US Marine Band in 1965. It’s pretty amazing[/ref], and I can’t do that on the bass. I became proficient on both instruments, but in much different ways. The trombone playing, from written music, feels “in my head.” The bass playing, by ear, feels “in my heart and bones.”
But whether playing by ear or by reading music, my level of musical understanding has remained very basic. I learned to transform dots and lines and Italian words into sounds on a trombone, and only on a trombone. I learned to hear and mimic rock and blues on the electric bass, and only the bass. But there are dozens of instruments[ref]That is, in Western music. Around the world there are thousands and thousands![/ref], capable of 
making a multitude of sounds across a seemingly unending range of pitches. All of these sounds can be organized together by pitch and tone and rhythm and timing in myriad pleasant-sounding ways. And that organization is based on – and can be described and communicated in – precise, mathematical terms that are concrete and anchored in physics; and these terms are then translated into musical symbols. I know nothing about all of that. I am fluent in trombone like an American high school Spanish student is fluent in Spanish; I am fluent in bass guitar like an intelligent, yet illiterate, Spanish speaker is fluent in Spanish. However, people who truly understand music are like linguists who are not only fluent in Spanish and all the other Romance languages, but can also explain the relationships between them. There are orders of magnitude in difference between my musical knowledge and that of, say, a music theory major. Yet I’ve helped write some really good songs.
The fact is, all those connections and relationships, and all those explanations of why notes sound good together based on physics and mathematics, are extremely UNNECESSARY in creating a great song. A great song exists in an artist’s brain, or a band’s collective brain[ref]Having been in a band that wrote songs together, and having tried – and failed – to write songs with other bands, I know first hand that there is a Collective Brain among bands who write music. It’s a mysterious entity, and its workings are obscure, but it does exist.[/ref], and it can be transmitted via sounds whether an artist is aware of chordal relationships and time signatures or not. And the ability to WRITE IT DOWN is certainly unnecessary – just as a story can be told aloud without writing it down. In fact, I’d wager that among all the musicians on all the albums I’ve covered, fewer than 10% can 
even read – let alone write – music. I’d further wager that if we don’t count session musicians who may have played on some of these records, the percentage of musicians on the list who can read music would plummet to below 1%.
Written music is unnecessary in rock music. Even if one member of a band writes a song and brings it to the rest of the band to play, it’s very unlikely that any written music is involved. There may be some chords written down, but these are likely to be represented by letters (A, B, C, D, E, F, G, plus assorted sharps and flats and minors, as necessary) instead of dots, lines, Italian words, etc. The fact is, just as you don’t need to understand those dots and lines to appreciate a song, an artist doesn’t need to understand those dots and lines to write a song. Artists such as Michael Jackson, The Beatles, Jimi Hendrix, Eric Clapton … none of them could read music[ref]I didn’t include a link for all these references, but you can easily do a search and find information about these and other artists who can’t read music.[/ref], and they wrote 
thousands of songs. (Paul McCartney’s even written classical pieces, relying on arrangers to transliterate the instruments’ parts to notes on the page.) If you have the music inside of you, if you have that feeling, you will get it out of you and into an instrument some way, somehow, and others will feel it, too.
The point is this[ref]Yeah, yeah, I know, I need an editor.[/ref]: it matters little whether a musician can read or write music. All that matters is that it sounds good when it gets to your ears. And the reason I like Superunknown so much is that it touches the music-reader in me and it touches the music-feeler in me. It has unusual time signatures throughout that would seem to be challenging to read or write, but it’s got that straight-ahead driving rock sound, the guitar/bass/drums, the power that I love. The band has stated that they didn’t even think about, or concern themselves with, time signatures when they wrote the songs. They just played what sounded good and let the Music Majors figure out the math. And that process led to a masterpiece.
One of the most well-known examples of an unusual time signature is in the hit song “Spoonman.”
That first riff, right off the top, has seven beats to it – which is unusual in rock music. Rock and roll started as dance music, and since humans have two feet, dance music works best when there’s an even number of beats to a measure. So seven beats can feel awkward – and I mean “feel,” not “sound.” But drummer Matt Cameron, who’s responsible for keeping the rhythm flowing, is able to stay steady, constant, to a degree that you may not even notice there’s anything particularly different about the beat – but there is. 
That main riff is simply one of the best ever in rock, powerful and memorable, and I love the riff in the chorus, as well (which switches from seven to a regular four/four beat, just for kicks). The lyrics are actually about a man named Artis the Spoonman who played the spoons on the streets of Seattle, and who also played them on this track. I love the sound of this song, from Ben Shepherd’s rumbly, chunky bass at 2:00, and again at 2:50, to Kim Thayil’s slashing guitar throughout. Also, Chris Cornell has one of my favorite all-time voices in rock, and it’s on beautiful display on this one. This was a big song from the album, and it got a lot of airplay, and it deserved it.
Another song I love despite (because of??) its odd-feeling time-signature is the powerful “My Wave.”
Count along with Cameron’s snare drum, which goes BAP … BAP-BAP/ … BAP … BAP-BAP. If you count such that the first “BAP” is on two, and 
the “BAP-BAP” is on four-five, and start over immediately, you’ll be counting in 5/4[ref]And each of those beats will be a quarter note. And that’s about as much of a music lesson as I’m able to give.[/ref]. Despite this unusual beat, the song drives forward relentlessly. What catches my ear next are the strong vocals from Cornell. His melody is sparse but catchy, but it’s very rhythmic and sounds terrific with the 5/4 time signature. Guitarist Kim Thayil plays that simple, catchy riff, but throws in some neat sounds, particularly in the “My Wave” chorus, first at about 1:48, then he and bassist Ben Shepherd have some cool interplay around 2:15. The lyrics are sort of a “live and let live” manifesto, but the song is really about the sound and power. At about 3:40, an outro starts that changes to 4/4, sounds Eastern and then gets almost nursery-rhyme-ish. It’s probably my favorite song on the album.
But the craziest time signature on the record is unquestionably “Fresh Tendrils.” I’m not even sure how to count out a beat on this one …
It’s in 6/4, then 4/4, then 6/4, then at about 1:24 it goes all haywire and I can’t figure it out. Cornell’s voice is once again front-and-center, on inscrutable lyrics, but Thayil’s riff is really
cool, too – he gets an unusual, trebley sound out of his guitar. Bassist Ben Shepherd shines, too. And for every song, just take it “as read” that I love what Matt Cameron’s doing on the drums. This band can really play, and I love this album!
I didn’t get into the band or the record because of its strange time signatures. I had heard of them way back in the late 80s, when my friend Eric used to go see them when they’d come on tour. They, and singer Chris Cornell, were featured on the very cool Singles soundtrack, and I liked a couple songs from their 1991 album Badmotorfinger. I heard the first single from this album, “Black Hole Sun,” and I hated it. But then I heard “Fell On Black Days,” and I loved it. I went out and bought the CD.
Of course, given my history, I notice right away that the song’s 
in 6/4[ref]Which – true – 6 is divisible by 2, so humans’ two feet might feel better about this song than 7/4. However, 6 is also = (2 x 3); and 3 is odd, and therefore not as comfortable on the feet as, say, 4/4 (which is even, obviously). So 6/4 still feels awkward to try to dance to.[/ref], but I also notice the cool little bend that Chris Cornell, playing rhythm guitar on this one, adds to the main riff, and Matt Cameron’s terrific kick-drum introduction at about 15 seconds. I haven’t mentioned much about bassist Ben Shepherd yet, but I love his rolling bass line on this chorus of this song, heard first at about 55 seconds. Cornell’s lyrics are a little more direct this time, about life with depression, and his delivery at times gives me chills. Lead guitarist Thayil again has that trebley, trembling guitar sound on his solo, beginning about 2:20.
It’s probably time for me to say a few words about Chris Cornell. First of all, I find him quite handsome – to a degree that I almost wrote about being heterosexual but sometimes seeing a man and thinking, “wow – he’s attractive.” But more than that I think he has one of the best voices in rock. He can sing sweetly and soft and he can shout and scream with the best of them. One of the first times I listened to him was on his solo song from that Singles soundtrack: “Seasons.” It’s just him on guitar and singing, and it’s excellent. And he’s also excellent when he belts it out – as in the title track from Superunknown.
It’s got a great Kim Thayil riff to open it up, and Ben Shepherd plays a cool bouncy bass line. But it’s Cornell’s show, howling and shouting lyrics about … geez, I don’t know, being yourself? 
I guess maybe. I really love these types of rockers, and Thayil’s Eastern-sounding guitar solo, at 3:52. (Speaking of Eastern-sounding, check out Ben Shepherd’s track, “Half.” Sheesh!) Another great rocker is the opening track, “Let Me Drown,” which has a cool, grinding riff and features Cameron’s inventive drumming and Shepherd’s bubbling bass (plus some authentic 90s-era scratching thrown into the chorus!). They also go all-in on the punk sound on the short, peppy “Kickstand.”The band sounds powerful on these driving rockers, but they also sound powerful – and plenty heavy – when they sling the slow, sludgy sounds of Seattle despair.
A good example is “Limo Wreck,” in which the band
demonstrates it can do odd time signatures at a slow pace, too. It’s got cool guitar harmonics, a bass line that sounds like it doesn’t fit and lyrics about something. Another sludgy song is the excellent, but probably too-long, “Head Down.” And “Mailman” is definitely the sludgiest of the bunch. “4th of July” is also a good one in this style, although the beginning of the song makes me want to turn it off – but keep listening, ’cause it gets really good.
The album’s final song, “Like Suicide,” is my favorite of the slow ones.
Fittingly, given my love of his drumming, it starts with a martial beat by Cameron. Cornell shows off the full range of his voice on the song, 
singing lyrics that came to him when he saw a bird fly into his window and die. I like how his melody at times doesn’t seem like it fits the song, but it does. At 3:30, it starts to kick in, and Cameron plays some excellent fills. At about 4:31 Thayil plays another Eastern-inflected riff, a prelude to his cool solo at 5:15. It’s a great album-closing song, featuring everything I love about the album – except for the fact that the time signature is straight 4/4 the whole way!!
When I began learning to play instruments, I had no idea that the specific musical knowledge I picked up would affect my appreciation of all music. However, this doesn’t mean I immediately try to tear apart all the songs I like. I do not take such a logical approach to music, like a physicist attempting to reverse-engineer a product by pulling it apart and 
seeing what’s inside and how it works. I simply listen and like what I hear, which I believe is the spirit in which artists create. The underlying math can describe and communicate, it can enhance understanding, but that’s all in one part of the head. The artistry comes from a different part, the part that feels like the heart and the bones, the part that’s called the “soul.” This is how music connects with me, how Superunknown connects with me. Everything else is just lines and dots and Italian words.
Track Listing
“Let Me Drown”
“My Wave”
“Fell On Black Days”
“Mailman”
“Superunknown”
“Head Down”
“Black Hole Sun”
“Spoonman”
“Limo Wreck”
“The Day I Tried To Live”
“Kickstand”
“Fresh Tendrils”
“4th of July”
“Half”
“Like Suicide”
A reminder: RESIST THE TURD IN THE WHITE HOUSE AND HIS BIGOTED, HATEFUL, UNAMERICAN POLICIES! TAKE ACTION!
IN A NUTSHELL: A complex album that grows more interesting with repeated listenings, and that best works – for me – as a complete unit instead of individual songs. The playing is excellent, particularly drummer Matt Cameron and guitarist Mike McCready, but it’s Eddie Vedder’s stirring baritone voice that really carries most of the songs. There are rave-ups, some slow jams, and even a bit of the blues, and together it all sounds great.
what they were[ref]And appreciate great 
as were most college students. Sure, there were a few people with weekly allowances from well-to-do parents, but for the most part everyone at college was forever near-penniless. I had a work/study job at the gym refereeing 
breathlessly tells his friends about the one time he ate a pastrami on rye.
the two pickle spears were free. And I was further encouraged by the later realization that, in fact, I was not further impoverished by this sandwich purchase – I still had some money the following week. Also, my parents didn’t know about it and they didn’t need to know – I’d bought the thing with money I’d earned, after all. Decadent or not, it was my decision and I had no regrets, felt no remorse. Instead I felt good, relieved, proud; like I’d arrived at some station toward which I hoped I’d been traveling on a train I wasn’t sure made the stop. All things considered, it was the most satisfying sandwich I’ve ever eaten.
starting a daily exercise routine – each of these have provided me a version of that “First Decadent Sandwich Decision” feeling, a sense that I’ve joined a group that I was unaware existed.
sound (with apologies to 
the genre were Nirvana and Pearl Jam[ref]I wouldn’t be a cynical Gen-X member if I didn’t point out that these “towers” were most certainly foisted upon us by greedy corporate big-wigs at the expense of likely-more-deserving artists whose dreams and spirits were turned to dust in the spice-grinder gears of the entertainment machinery.[/ref]. Bands like 
This choice wasn’t a 
story of 
and singer Eddie Vedder starts in with three swirling electric guitars building behind him. Vedder is an expressive singer, and his voice lends itself well to the classic Pearl Jam touch of hang-on-note-during-crescendo-until-big-release, as in 1:47 to 1:56 of “Can’t Keep.” It’s an interesting song in that it sounds somber and brooding, yet the lyrics and Vedder’s voice are 
There I found out that guitarist Mike McCready came to the band with the big, opening riff, and the rest of the group just ran with it. It’s driving rock and roll, with a really nice little break-down section at about 2:07 that keeps it from getting monotonous. The lyrics speak of the 
the 2:12 mark, where I always get chills, and continues building to bigger chills at 3:02. The lyrics are a 
nifty, descending arpeggiated guitar. During the verses, the band shifts easily between 4/4 and 2/4[ref]Or perhaps 10/4? At a certain point – unless you’re 
The band puts together a couple slower pieces next, and together they may be the highlight of the album. As I said, this is one of those records that I appreciate as a single unit – not really the same as 
overly-self-reflective[ref]This assessment of myself might surprise you, unless you’ve, like, read any of the dozens and dozens of postings on this blog the past four plus years …[/ref], lines like “All the rusted signs we ignore throughout our lives/Choosing the shiny ones instead/I turned my back/Now there’s no turning back” echo thoughts and feelings of my own. Musically, there’s nice stuff happening behind the vocals and acoustic guitar, and a cool little extra “hesitation measure” about 2 minutes. This band knows how to do emotion – or maybe that’s too Gen-X cynical. Maybe this band is just in touch with emotions.
The guitars are great, featuring a classic Stratocaster sound, as are Vedder’s vocals on lyrics that belie the 
It ends with another great guitar solo, and as it ends I’m reminded of the first song, “Can’t Keep.” Both have a mix of sadness yet hopefulness, perfect bookends to a powerful album.
IN A NUTSHELL: Super-catchy melodies and incomprehensible lyrics sung in screams and whispers and everything in between, backed by loud guitars, and a heavy-yet-melodic rhythm section. Today this record sounds rather tame, but when it was released it sounded like it had the power to change everything. And maybe, in some small way, it helped do so.
I used to be very 
of my past outlook. But I’m not 
relationships were best left undiscussed, or if necessary, discussed with an edge of distaste. I remember 
They were just like everyone else! Some were cool, some were assholes. I eventually moved to San Francisco, and the “gay culture” was more or less just another strand in the tapestry of “
awaken to the fact that gay and lesbian people are NORMAL PEOPLE, as many beloved Americans “came out of the closet.” And, as often happens when a friend or family member does the same, America realized their sexuality had no bearing on its opinions. Comedian Ellen DeGeneres – star of one of the 
But if hand-holding implies sexual contact, well, frankly, I can’t think of any couple – straight or gay – (or group, for that matter) whose sexual contact I want to think about. My parents? My family? My neighbors[ref]Assuming, of course, that I’m not a teen-age boy in an 80s movie who moves in next door to a sorority house whose residents regularly pillow-fight.[/ref]? Ugh. The fact is that two men holding hands doesn’t “flaunt” their sex life any more than any couple’s holding hands, and to ascribe sexual significance to it – again – says more about the person perceiving it than anyone else.
So, it’s true I was homophobic, and I know that I was, but even though it was me holding those ideas, I can’t get my mind to remember what it was like to be homophobic. It makes no sense, even though I know it to be true. In a similar way, I can’t get my mind to remember how crazy Nevermind sounded to me when I first heard it. I know for a fact that it sounded different from anything else I’d heard – Kurt Cobain’s screaming, the crunching guitars and pounding drums, all around catchy, hummable tunes – and I know it sounded like some final destination of rock music, one cul-de-sac of many in the neighborhood first planned by Chuck Berry and Little Richard, but I listen to it now and think, “Really? This was crazy, game-changing music?? It sounds so … pleasant!”
I came to understand that “punk rock” – by the late 80s and early 90s – really just meant making music your own way. It could be 
your grandparents’ house while your parents go out, and you fall asleep there and then wake up on the car ride home. I thought, “That’s the basis for a song? A Punk Rock Song?!? That can’t be right.” He played the song for me, and it was 
our set, the track played, and the dance floor became a huge mosh pit, and when that build came the entire place jumped along to the song until “With the lights out …” broke and it became utter mayhem, crowd surfing, bodies flying, and bouncers reaching into the pile and pulling out drunks. The thing was, these moshers weren’t punkers or skinheads or metal dudes … they were boring college party people, folks who two years ago were inviting each other to “
some spirit within those collegians that they didn’t know they shared with the DIY kids. It’s probably a mixture of both. All I know is that I loved the sound and was blown away by the energy.
But what I love about the song, and what I believe is the real secret weapon to Nirvana, is the rhythm section of drummer Dave Grohl and bassist Krist Novoselic. Grohl hits the drums HARD, and his fills – as heard in the intro to “In Bloom” – are as catchy as the melodies. (It should be noted, too, that Grohl provides the excellent harmony vocals throughout the album, particularly noticeable on “In Bloom.”) And Novoselic always seems to find the right counter-melody in his bass lines, keeping the songs bouncing along even when Cobain’s guitar is simply feedback and power chords.
The vocal melody for this song is a bit busier than many of the others on the album, but I like it, particularly when paired with Novoselic’s bouncy, wide-ranging bass line. 
excellent support
always pleasing.
Just as I was putting the finishing touches on this post, the 
I know for a fact that people can change. And as people change, the culture will change, and as culture changes maybe violence can decrease. It’s not an accident that in thinking about Nevermind I think about how my attitudes have changed. Cobain and his bandmates were huge advocates of tolerance, going so far as asking in the liner notes to their album 
Nevermind is an album that I listen to nowadays and think, “My goodness, how times have changed.” And despite the pain and sadness that still exists in the world, I think it’s obvious that times have changed for the better. The fact that Nevermind sounds so different to my ears today than it did in 1991 is strong evidence for it. It’s one of many things that sounds different to me now.
