"In The Studio" Video Blog Looks Back On Superunknown For Its 25th Anniversary



Time flies when you’re making history. When listening today to the uncanny way in which songs such as “Spoonman”,”Fell on Black Days”,”Black Hole Sun”,”My Wave”,”The Day I Tried to Live”, and “Superunknown” on Soundgarden‘s March 1994 Superunknown somehow bridged the evolution of rock over the preceding quarter century, it feels like merely twenty-five months have passed, not years.

When it came time for Soundgarden to enter the studio in 1993, the song stash was empty, a daunting creative challenge to main songwriter Chris Cornell. All of the ripe musical fruit had been harvested for the series of singles,  EPs, and three preceding albums including Badmotorfinger,  but Chris found the untilled earth liberating as well, fertile musical ground. No doubt one of the strongest aspects of the songs that Cornell, crunchy angular guitarist Kim Thayil, thundering bass player Ben Shepherd, and powerhouse drummer Matt Cameron came up with on Superunknown   twenty-five years ago was their unapologetic admiration for the Vol.4-era Black Sabbath sound and unabashed dynamics of Led Zeppelin. The late Chris Cornell is my guest from the In the Studio  archive. – Redbeard

Highlights From SiriusXM Lithium's "#Superunknown25 Weekend"


This past weekend, SiriusXM’s Lithium station celebrated the 25th anniversary of Superunknown by playing all 15 tracks from the album, in addition to many of the demos, live versions, and rehearsal versions from the Superunknown 20 year anniversary deluxe edition. The Soundgarden songs were played throughout the weekend, scattered into the regular Lithium playlist.

In addition to the music, short clips sent in by fans were played throughout the 3 days, in addition to some clips from the band discussing the album’s creation and other topics.

While we didn’t get every clip that aired, the ones that we did capture are in our “Superunknown Turns 25” post, and below are some of our favorites:

“The first tours we did with Matt, you know we’re going to clubs in towns where, you know you’re just sort of intimidated. 
And you go into these dirty, dingy clubs that are dark. And they stink like rotten alcohol, you know, and there’s guys with neck tattoos wandering around, mopping [it] up, and everyone seems to hate you.

It was the first time I was outside of Seattle, and it was intimidating. One of the things I would remember...every time Matt would finish putting his kit together, he would sit down and start hitting the drums a little bit - that was one of those moments of confidence because whoever was in that room, would always look up with kind of a “holy shit !”. He was the only one in the band, at that time, that had that power. So it made me...”oh ! We can hold our head up”. It was very important.

When he would hit the first couple of drums, it would always make somebody look. “

Chris Cornell wins "Best Rock Performance" Grammy for "When Bad Does Good"

Chris Cornell wins the Grammy for “Best Rock Performance” for When Bad Does Good

The Man Behind the Lens: Charles Peterson

If there is one photographer’s name that is instantaneously synonymous with the Seattle music scene, it would undisputedly be Charles Peterson. During the reign of Sub Pop, he was in the midst of it all, capturing historical photos of bands like Nirvana, Alice in Chains, Soundgarden, Screaming Trees, Mud Honey, Pearl Jam, Green River and many many many many more “grunge” heavyweights.

Peterson’s ability to take incredible photos of concert crowds and translate the intensity of the motions in the mosh pit into print is just one dimension of his massive talent.  Of course, we all love to see images of our favorite front men crooning into the mic, but during the days before camera phones, the way Peterson turned the camera on to the crowd helped encapsulate the vibe that defined that transitional era of music.



The Seattle audiences were entertaining. I didn’t want to just get a head shot of the lead singer. I wanted to get the experience, make you actually feel like you’re there. ... I like the composition part of shooting. The way my eyes and brain work together — I’m constantly composing with or without a camera.
— Charles Peterson

With a knack for capturing movement, Charles has also taken some incredible photographs of Soundgarden in action, especially from the early days which we affectionately refer to as Babygarden.


It wasn’t long before Charles Peterson achieved cult status among music fans not just in Seattle, but all over the world. Just the other day fellow friend and fan found a print of his while walking down the streets of Bologna, Italy. His images truly can be found everywhere from iconic album covers to music publications and zines dating back to the 80s and 90s. Check your local record store or music museum; you will probably come across a Charles Peterson piece.

Scene from the documentary HYPE!

Scene from the documentary HYPE!

Many people may recognize Charles from his memorable cameo in the indie docu-flick called HYPE! In his segments, he’s sitting on the ground completely surrounded by photos he took from various gigs, stopping to comment on several memories tied to specific photographs.

HYPE! celebrated its 20th anniversary in 2017 with a re-release with extra footage

HYPE! celebrated its 20th anniversary in 2017 with a re-release with extra footage

We just so happened to be in Seattle for the 20th anniversary screening of HYPE! and had the privilege of hearing Charles Peterson speak during the live commentary portion of the event. Though soft spoken, Charles has many wise words when he speaks about the music scene that so many young people today admire and fantasize about today. His speaking portion begins around the 9-minute mark.

Being in the same room as this magnanimous panel of “grunge” greats was an awesome experience and it was comforting to hear them speak about Chris and his impact on the Seattle music scene. Check out more details from that event here.

Though Charles mostly keeps a low profile, his portfolio boasts pictures that span the realm of sweaty grunge shows and into beautiful scenic photography from his travels and candid photos from events like Sundance Festival. Take a moment to visit his website www.charlespeterson.net to explore just how talented our favorite grunge photographer is.

We want to extend a huge THANK YOU to Charles Peterson for all of the crucial and memorable work he has done photographing artists of the Seattle music scene and beyond. Without his skilled eye for capturing our favorite artists in their element, we wouldn’t have all of these beautiful pictures to look back on and remember those whom we have lost.

For fine art prints please contact Charles for direct sale pricing.

For more Charles Peterson check out the following publications:

  • Touch Me I'm Sick, by Jennie Boddy (Author), Eddie Vedder (Author, Introduction), Charles Peterson (Photographer)(PowerHouse, 2003)

Click to purchase

Click to purchase

  • Screaming Life : A Chronicle of the Seattle Music Scene, Charles Peterson (Author, Photographer) (Harper Collins, 1995)

Click to purchase

Click to purchase

  • Pearl Jam: Place/Date, Charles Peterson (Author), Lance Mercer (Author) (Rizzoli/Vitalogy, 1997)

Click to purchase

Click to purchase

  • Cypher, Jeff Chang (Author), Charles Peterson (Photographer), (PowerHouse Books 2008)

Click to purchase

Click to purchase

You can also catch mentions of Charles Peterson in Everybody Loves Our Town: An Oral History of Grunge by Mark Yarm (not to be confused with Mark Arm)

Click to purchase

Click to purchase

Films featuring Charles Peterson:

  • All apologies : Kurt Cobain 10 years (2006)

  • The Last 48 hours of Kurt Cobain (2007) 

  • Seven ages of rock (2007)

  • Hype! (1996) 

  • Photographs were used in Cobain : Montage of Heck (2015) 

  • Too young to die : Kurt Cobain (2012)

We dedicate this post in memory of Othello, the most handsome babushka on four legs.

Paul Lorkowski Posts New 2019 Soundgarden Calendar

1 on 1 with Corbin Reiff, Author of TOTAL F@&KING GODHEAD: The Biography of Chris Cornell (2020)

As you may already know, Corbin Reiff is the music journalist who is taking on the enormous task of writing the upcoming new biography of our dearly departed Chris Cornell, due out sometime in 2020. Someone capable of taking on a project this immense must be a pretty remarkable person considering how intense and incredibly vast Chris’s career was and how rich his legacy is proving to be.

So, naturally, we wanted to get to know a little more about the man who is tirelessly conducting interviews with people who have worked with Chris, along with giving us exciting Twitter updates about his writing process. Corbin has written for publications like Rolling Stone, Billboard, Uproxx, Complex, Noisey, The A.V. Club, Pitchfork, Consequence of Sound, SPIN, Ultimate Classic Rock, and Guitar World Magazine. As if that wasn’t impressive enough, he’s also the author of a book called LIGHTERS IN THE SKY: The All-Time Greatest Concerts, 1960-2016, which is out now.



We were lucky enough to meet Corbin at the ‘I am the Highway Tribute’ in LA and chat briefly, but we still want to know more about his thoughts and ideas in regards to Soundgarden and Chris’s other bands and musical projects. He was gracious enough to give us a little bit of insight into his life and the future of this TOTAL F@&KING GODHEAD biography.


What were you doing before you became a music journalist?

I was in the U.S. Army for about five years before I started really writing. I joined out of high school and deployed to Iraq in 2009. When I came home, I enrolled at the Evergreen State College and then began blogging, mostly as a hobby.

How did you get into writing?

I’d been writing casually for about a year when a guitar magazine hit me up and asked if I’d like to write a 3,000 word piece about this obscure, English session guitarist named Big Jim Sullivan. I was supposed to interview him for my own blog, but he died literally the day before we could talk, so I posted an obituary instead. They noticed it, and the rest, as they say, is history.

What your favorite music memory from childhood?

That’s a tough one. I think I’ll fast-forward a few years to seeing my first concert at 14, at ARCO Arena in Sacramento. Nine Inch Nails was headlining, with Queen Of The Stone Age and Autolux in support. The intensity and the volume are what I remember most fondly. I guess I’ve been chasing that feeling ever since.

Do you remember the first Soundgarden song you ever heard?

It had to be “Black Hole Sun.” Even as a young, young kid, that song was everywhere when it came out.

What are some of your favorite Soundgarden/TotD/Audioslave/CC solo songs?

Do you have an hour? Haha. “4th Of July” from ‘Superunknown’ is probably my favorite Soundgarden song. “Reach Down” is my favorite Temple Of The Dog track. I’d have to go with “Shadow On The Sun” for Audioslave.” And then Chris’s solo work, excepting “Seasons,” which is incredible, I think I’d pick “Can’t Change Me” from ‘Euphoria Mourning.’

Do you have a personal story or connection to Chris or any of the bands you’d be willing to share?

Chris Cornell has always seemed like an omnipresent musical force in my life. I was in High School around the time the first Audioslave album dropped and it was inescapable. Then you realize, ‘Oh, that’s the guy from Soundgarden??’ and get to really dig into that collection of music. A few years later I moved up to the Seattle area, and you could feel the mark he left on that place, even if he wasn’t living there at the time. Seeing Soundgarden at the Paramount in 2013. Seeing him solo and as part of the Mad Season celebration at Benaroya Hall where Temple Of The Dog reunited. Bumping into him in LA for the onstage chat with Jimmy Page he did at the Ace Hotel. His music meant a lot to me. 

What did you think of the I Am the Highway Event? Who was your favorite?

I thought it was spectacular! My first book, ‘Lighters In The Sky’ is a year-by-year profile of the greatest concerts of all-time, and if my publisher asked me to cook together a chapter about 2019, I mean, it’s only January, but I can’t imagine another show surpassing the quality and emotion of that one. Favorite singer was probably Miley Cyrus doing “Say Hello 2 Heaven” or Dave Grohl shredding his vocal cords on “Show Me How To Live.” The most powerful moment however, was at the very beginning, just seeing the three Soundgarden guys together again and the outpouring of love from the crowd for them. I still think about Matt Cameron’s speech.

What has been your favorite part of putting the Total F@#king Godhead biography together? What has been the most challenging?

Hearing people’s stories about Chris. It’s incredible how many lives he touched and humbling as a biographer to learn how much he meant to people. That’s also the challenge. I just want to make sure that I tell his story as accurately and empathetically as I possibly can.

Without prying for spoilers, what are some of the most exciting parts of the book that we have to look forward to regarding interviews and new information?

I think the area I’ve focused on the most thus far is Chris’s development as an artist. In terms of new information and insight, I think, or at least I hope, that people will come away with a better understanding of how he created and recorded everything from Soundgarden’s first contributions to the DEEP SIX compilation in 1986 to his last solo album HIGHER TRUTH and beyond. Why he did what he did. Why he wrote what he wrote, etc. Chris once said that, “My albums are the diaries to my life.” Any understanding of who he was has to begin there.

I think it’s safe to say that Chris’s biography is in good hands. Soundgarden fans have this innate over-protectiveness over the band and its members, especially now that Chris is no longer with us. It’s comforting to know that Corbin is not only a fan but someone who is genuinely interested in Chris’s music process and the man that was behind all of the songs and albums that have defined the soundtrack to our lives for over three generations.

Big thank you to Corbin for giving us some insight! To stay current with his updates, give Corbin a follow on Twitter or Instagram.

Article: Interview With 'Superunknown' Producer Michael Beinhorn (eonmusic)

'Superunknown' Producer: The Thing I Told Chris Cornell That Completely Changed Direction of This Album

"He was trying to write songs for Soundgarden fans, which I strongly urged him against," Michael Beinhorn explains.


Michael Beinhorn has worked with some of the biggest names in Rock. The man behind the desk for Red Hot Chili Peppers, Marilyn Manson , Korn and a whole lot more, he’s perhaps best-known as the producer behind Soundgarden’s monolithic ‘Superunknown’ album. Launching a new pre-production service, we sat down with Michael to talk about the importance of song writing, his work with Ozzy Osbourne, and the album that brought the world ‘Black Hole Sun’. On the other side; Eamon O’Neill.

Hi Michael, you’re starting a new venture offering pre-production to musicians and bands; why have you decided to focus on that area?
Well, the focus is on pre-production, and I discovered over this past fifteen years now, that fewer and fewer people are actually using pre-production to make records. A lot of people because of budgetary restraints are just rushing into recording studios with a bunch of songs once they’ve written them, and they don’t really think about what may or may not be working with the songs. That decision is one of the single most vitally important that a person can make before they’re going to make a recording. If they’re going to rush into the studio with a bunch of songs that are potentially good before they’ve honed the arrangement right, they’re going to regret that. It’s really about focusing, and putting as much attention as possible into the end result.  

For artists who arrive into the studio without doing any pre-production, would you say that it ends up costing them more in studio time?
Yeah. The thing is there’s one finite aspect of recording right now, and that’s the budget. The budget now is what dictates everything. And that’s not necessarily a bad thing, because it’s important to have some kind of limitations when you’re making a record, depending on what level artist you are. The thing is that when every single decision is dictated by how much or how little money you have to make your recording, it kind of puts you up against a lot of unfair pressure. For example, if you’re work is based in creativity, it doesn’t make sense that you should be completely and utterly restricted by how much money you have to work with. I mean, sure, you’ve got money to make a recording on the one hand, but on the other hand, there still has to be considerations made; how are we going to make this the best recording possible?

Surely that’s the most important question?
That is the question that’s always been asked when I’ve been involved in recordings in the past, regardless of what the budget was. There’s no reason in the world why artists shouldn’t be able to deal with the same kind of variables, no matter what their financial situation is. That’s really where this comes from; I want to make available to people something I consider that has been vitally important in the making of records for decades. To a lot of extent, it’s made a lot of recordings that people are familiar with, as good as they are; because people had time to work on them, they had time to invest in creating the structural element, not just going in and banging a bunch of parts out.

With the advent of quality home recording in the last decade and a half, has the role of the producer become more undervalued?
It depends on the genre of music you’re talking about. It also depends who the artist is. In many cases, the role of the producer has actually expanded considerably, and I don’t necessarily think that that’s the best thing either. I’ve always enjoyed a healthy balance between the producer and the artist, really. We have a collaborative aspect going on in a recording; with an understanding that the artist is really the person who’s responsible for creating the music, and the producer is there as someone who’s there to help recognise the vision. That’s strength in numbers. You have a bunch of talented people coming together under one banner, with a joint vision. Assuming that everybody’s wonderfully talented and there’s great material for it, and great performers, the resulting collaboration is always fantastic. 

That magical collaboration you’re talking about is exemplified perfectly on Soundgargen’s ‘Superunknown’, which you produced in 1994.
Yeah. I will say that once the songs were written, I didn’t really have to do a whole lot, in terms of rearranging it. I think it was more a matter of getting them on the right track with their stuff and really encouraging them. But, if I hadn’t been there, the record wouldn’t resemble by a long shot what it looks like now, because the songs that they initially started with were like a shadow of what the record wound up being. 

What was it that you brought, was it arrangements, guitar sounds – the picked verses of ‘Black Hole Sun’ for example?
As far as the Leslie guitar that he plays on the arpeggios – which I think is what you’re thinking about – that was all in the demo. That was his demo, but to give you an idea of what my involvement was from, I was getting a lot of demos from Chris [Cornell]. As I mentioned, they started with a bunch of songs, some of which were good. About four or five actually wound up being on the record, but the rest of it was kind of meandering jams, and it wasn’t anything steady, and none of the songs that were singles were in those batch of songs. I’d say the most important aspect of it was, I said to them; “Look, we can’t get started here, you don’t have a record. We need to write more”. 

So you sent them away to write?
I was getting songs from Chris, and after about a month and a half, I realised that he was starting to go in a natural direction. He and I had a conversation about it, and we focused on what he really loved musically, which is something that he hadn’t really considered. He was trying to write songs for Soundgarden fans, which I strongly urged him against, because my feeling is like; “look, if you write the song, and your band plays it, it’s going to sound like Soundgarden!” You don’t have to write songs that are going to please the constituency of your fans; they’re either going to stay fans or they won’t - all you have to do is write songs that you really love.

It sounds like that piece of advice changed the direction of ‘Superunknown’ considerably.
About two weeks after that conversation he sent me a cassette tape and I played it. There were four songs on it. The first was ‘Fell on Black Days’, the last was ‘Black Hole Sun’, and from the first few notes of ‘Black Hole Sun’, I was like; “Oh my god! This is incredible” I listened to the song many, many times - I just kept playing it over and over and over again, and I just called him up, and I was like; “This is incredible. We’re ready to record now. You’ve basically got the most important track on the whole record, and it’s one of the best songs I’ve ever heard”.

The song has gone on to become almost immortal; Is it strange to think you were one of the first people to ever hear it, and have a hand in its creation?
It’s still pretty mind blowing. It’s wonderful because people still listen to it, it’s wonderful that people are still inspired by it and still love that record so much, and it’s wonderful because the record does what I wanted it to do. I meant to do something that would hit people emotionally, that would affect them; that they wouldn’t just hear it, but they would feel it, that it would be something that would get under their skin, and would stay with them. And that’s not like; “Oh, I wanted to sell millions of copies”, that’s like, yeah, that’s great, I’m very happy about that too, but it’s secondary. It was really important to me that this album would mean something to people. I knew that this band could create something, I just had no idea it was going to be that.

And that people would be asking you about it all the bloody time!
If I told you I’m sick of talking about it; that would be disrespectful, and it would be terrible, because that song was beneficial to all of us. And it’s a wonderful, wonderful piece of music; even dissecting it musically is so much fun because there’s so many wonderful facets to it that I think very few rock songs actually have.

Moving on, and in 1995 you worked on Ozzy Osbourne’s ‘Ozzmosis’ album; was it a struggle to get that one down?
It took a long time [*laughing*]. It took a long time trying out some of the material for it, and I also worked Ozzy’s record in the middle of someone else’s record. It took months to assemble all the material for it and to coordinate everything. It was definitely a movie, and I remember we were looking at studios and Ozzy called up and he told me all the studios he didn’t want to work in, and then he hung the phone up! [*laughing*]. We wound up tracking the record in a studio in Paris, and it was a long, drawn out process.

You had Ozzy, Zakk Wylde, Geezer Butler and Rick Wakeman on there; does it go to show that even with the right ingredients, it doesn’t necessarily lead to a great album?
It’s funny because you can work as hard as you can, and you can put as much intent and as much effort into something as you possibly can, but if the stars aren’t aligning and everyone isn’t on the same page? You really need to have so many things heading in the same direction in order for something like that to work. I’m certainly very grateful that the record was a [commercial] success. Unfortunately a lot got lost in translation too. I’d recorded it a certain way; I had come up with this two inch eight track analogue recording system that no one had ever used before, and I tracked the drums on it, and unfortunately when it was mixed, the guy who was mixing it didn’t really know how to work with it. He lost all the subtleties and the depth of the drum kit, so that part of it was kind of heart breaking.   

It sounds like it was a completely different recording experience to ‘Superunknown’ the year before.
Well, it’s hard to describe it exactly. Comparatively speaking, on a record like ‘Superunkown’, there was just an energy about it, like, I can’t really describe it. It was one of these things where you just knew that this thing was going to happen no matter what; like we were all just pawns it in. I could say; “Oh, I did this, I did that”, but the fact is that we were really just being drawn along by some other kind of force or energy or whatever, that took the whole project to its inevitable conclusion. To me, that’s the best that you could hope for when you have a recording project. Ozzy’s record? Not so much. He’s not much of a participant, or at least he wasn’t on that record. He kind of left us to our own devices. It was me and the other musicians, and I think when you’ve got a record that is basically by a solo artist, it’s a little more difficult if the solo artist isn’t really heavily involved in the creative process. 

Despite that, it still contains ‘I Just Want You’, which is still a classic, underrated track.
It’s really funny, I only had one DAT recording of the way the drums sounded when we first tracked them in Paris, and to this day – this is going to sound very immodest, and I apologise for that – but I’ve never heard a better recording of drums in my entire life. I mean, it was that good. 

For you, what would you point to as examples of some of the best produced albums recorded?
Oh, there’s so many, oh my god. It really depends. The thing is production is something that you can’t always detect what it is, because it’s so much more. The only way you could really know what production really is, is by comparing an album that an artist did with one producer, with one they did with another producer, and looking at where song structures were changed, as well as sonic elements. From an overall perspective, obviously Beatles records are incredible, as are Led Zeppelin records which are self-produced; that’s a feat in itself, because there’s virtually no one else on the face of the earth - save maybe Prince, who could really self-produce like that. That’s over the top. Chris Thomas[The Sex Pistols, Roxy Music, U2]; his records are amazing; and I think no matter what anyone says about him, I think Mutt Lange is a genius. His records with Def Leppard and AC/DC are stupendous. 

AC/DC is a great example of what you’re talking about; comparing the difference between the Lange-produced ‘Back in Black’, and the self-produced ‘Flick of the Switch’.
Yes, and you can see where that went; you can see what Mutt actually brought to them. There’s an element that’s actually very subtle that Mutt introduced into their records. There’s a very refined quality to their records, and I think that that comes through in the sonics, as well as the feel of the performances. He’s a bass player, and he’s got a very, very refined sense of feel. I love what he did with their stuff. To me, adding contrasting elements, adding refinement to something that’s really rough and basic and nasty; that’s fantastic, and it gives the listener something to grab hold of.    

Moving back to your latest venture, what are you hoping to achieve?
I would really like to focus musicians on making better recordings, and how they can be proactive in their own work. One of the reasons why recording projects still cost a certain amount of money is you hire some guy who takes a large portion of your budget, who’s going to go into a studio with you for a week, maybe two weeks, cut everything and then go. And that’s the end of your project, instead of taking time to really look at the songs and making sure that when you go in with that guy, your material is stuff that you’re so confident about, you have no problem laying it down. I spoke to someone recently who I’m working on one of these projects who said; “Before, the only way whether my songs were good, was once my record was completed and mixed”; now think about that, that’s kind of sad, being an artist but not knowing. That’s terrible, and I don’t see any reason why people should have to suffer through that, so that’s my aim.

Does that mean that you’re no longer active as a producer, or will you be doing both in tandem?
I’m doing everything! I don’t rule anything out.

Toy Box: Soundgarden @ Italy 09.09.1995

Festa dell'Unità
Reggio nell'Emilia, Italy

Set List

  1. Searching With My Good Eye Closed

  2. Let Me Drown

  3. Spoonman

  4. My Wave

  5. Drawing Flies

  6. Incessant Mace

  7. Ty Cobb

  8. Fell On Black Days

  9. Mailman

  10. Head Down

  11. Superunknown

  12. Rusty Cage

  13. Waiting For The Sun

  14. Black Hole Sun

  15. Jesus Christ Pose


16. 4th of July
17. Kickstand
18. I Want You (She’s So Heavy)

Ben Shepherd Returns To Social Media, Is [Very] Active On Instagram

(Post Photo: Soundgarden | Las Vegas 2011 | Jeffgarden.com)

On my boat caterwaulin' on my bday present steelgutkat ( steel string guitar ) yuk yuk. I like as of tonight calling it a steelgutkat This is the place i used to stand for hours on end looking and standing standing and looking. Listening and trying to feel. And trying not to feel , getting balance and trying to find a sanctuary which i had always felt here - which didnt happen due to wildfire smoke and the shooting death by the police of a guy down further in the harbor - Both absolutely disturbing happenings -sanctity and small town 'safe harbor' erased. Especially so close to Chris' death I was frail and freaked shaky like a fawn with a hangover felt so alone i was choking inside and claustrophobic like how an epilogue must feel when book is closing. But i remember the day one day almost a year later when someone i kbew asked me how i doing i said i could see actual direction again see the horizon like a huge huge sky blocking slab five miles thick stone was moved away so the horizon and up or down was visible again Then one day i think a few months into this last summer i finally grabbed one of my cheapo boat guitars and started playing. Not this means fuck all to anyone but if you out there know anyone going through any sort of loss or trauma don't let them suffocate from isolation and loneliness of not being able to relate. There is not enough time to be scared or in awe of love so share love or say what ya need to say , but take it easy on yourself and help others. Spoil yourself by giving and doing whatcha know is right for yourself. Slow down eat that waffle. Get up and walk over to say hey to that person you either knew in high school or that person you never go to know. Listen tough guys you aint got nothin on love, its healing and killing power is the undisputed champeen - anybody can be dismissive or a bully its common and weak very un tough so if i get flak ( sp?) for my ramblings on this instagram page i can hack it - but just be engaged in life please in other words MATTER -is it helping are you helping ? If it is and you are then keep doing it - if not - stop.

Chris Cuffaro Appreciation Post

If your eyes have ever grazed across a single page of a popular music publication or magazine, chances are you’ve seen Chris Cuffaro's photographs. He is one of the most prolific music photographers out there, having worked with everyone from George Michael, Gwen Stefani, Nirvana, Pearl Jam, James Maynard Keenan, to our very own Soundgarden- and many more.

A quick look at his website reveals an impressively large collection of professional shoots, prints available for sale, and even a peek at the documentary of his 30-year career. Clearly, Chris is a man dedicated to his art, and we think he is due for some appreciation, especially from Soundgarden fans.

Most of you have seen some of these timeless images of Chris in the desert. Yup, Chris Cuffaro shot em in September of 1991.

Also this picture of the guys that was in Creem Magazine in August of that same year.

Take a peek at this greatest hits video that shows all his favorite snaps of Soundgarden.

Now, we’ve barely turned the corner into 2019, and Chris Cuffaro has given Soundgarden fans some new year excitement by revealing that he has uncovered some never-before-seen pictures of the band from his vault!

Sensing our borderline annoying excitement to see what photos he’d uncover, he decided to bless us with these six fantastic gems, for which we are incredibly grateful.

With the possibility of more pictures in the future, this definitely gives us something to look forward to, especially now that the ‘I am the Highway’ tribute show has come and gone and Ben Shepherd is active on IG, letting us soak up his wittiness that we’ve been missing so much.

As all superfans know, rare and previously unseen pictures of our favorite band are practically akin to gold currency as we continue to heal after losing Chris. Savor these beautiful newly released snaps until the next reveal and show Chris Cuffaro the appreciation he very much deserves.  

If you’d like to show Chris Cuffaro your gratitude, order a print! Any image you see on his website is available in different sized prints that can be delivered right to your door. He’s great about communicating with fans, so if you have any questions, shoot him an email or message on his IG.

Event: "I Am The Highway - A Tribute To Chris Cornell"

“I Am The Highway . A Tribute To Chris Cornell”
January 16 2019

Update: Live Stream

Update: Setlist (42 songs)

The Melvins -
The Kicking Machine | With Yo’ Heart, Not Yo’ Hands (Malfunkshun cover) | Leech (Green River cover) | Let It All Be | Honey Bucket | Spoonman
Rita Wilson - The Promise
Nikka Costa & Alain Johannes - Disappearing One
Chris Stapleton - The Keeper
Foo Fighters - No Attention | Girl U Want | Earache My Eye | Everlong (Dave Grohl solo)
Josh Homme - Rusty Cage
Adam Levine, Jesse Carmichael, & Stone Gossard - Seasons
Miley Cyrus - As Hope And Promise Fade
Audioslave (Tom Morello & Brad Wilk) - Cochise (feat. Perry Ferrell) | Be Yourself (feat. Juliette Lewis) | Set It Off (feat. Chris Chaney, Sam Harris, and Tim Mcilrath) | Like A Stone (feat. Brandi Carlile) | Show Me How To Live (feat. Robert Trujillo and Dave Grohl)
Toni Cornell & Ziggy Marley - Redemption Song
Metallica - All Your Lies | For Whom The Bell Tolls | Master Of Puppets | Head Injury
Ryan Adams - Dead Wishes, Fell On Black Days
Temple Of The Dog - Preaching The End Of The World (feat. Nikka Costa) | Can’t Change Me (feat. Alain Johannes), Hunted Down (feat. William DuVall, Jerry Cantrell, and Josh Freese) | All Night Thing (feat. Fiona Apple, Brendan O’Brien, and Matt Chamberlain) | Reach Down (feat. Miguel, Nikka Costa, and Brendan O’Brien) | Say Hello 2 Heaven (feat. Miley Cyrus) | Hunger Strike (feat. Brandi Carlile, Chris Stapleton, and Brendan O’Brien)
Soundgarden - Rusty Cage (feat. Taylor Momsen) | Flower (feat. Marcus Durant) | Outshined (feat. Marcus Durant and Stone Gossard) | Drawing Flies (feat. Taylor Momsen, Buzz Osbourne, Matt Demeritt, and Tracy Wanamae) | Loud Love (feat. Taylor Momsen, Tom Morello and Wayne Kramer) | I Awake (feat. Taylor Hawkins and Buzz Osbourne) | The Day I Tried To Live (feat. Taylor Hawkins and Buzz Osbourne) | Black Hole Sun (feat. Brandi Carlile, Peter Frampton, Tim Hanseroth, and Phil Hanseroth)

Update: Videos (currently adding all of the missing videos…they’ll pop up as they upload)
Use the YouTube menu at the top left to drop-down and choose a video

Update: Photos

Original (pre-show) post:

It’s difficult to say now what we’ll be able to come away with…
We hope to be able to record parts of the show, and post clips on this page tomorrow [over]night.

If we can, we will try to also live-stream on our Twitter feed at Twitter.com/iJeffgarden (note the username is iJeffgarden and not Jeffgarden on twitter)

If we have to choose 1, while the live stream is cool, it also lowers the quality of the video in order to broadcast it easier, so we would forgo that in favor of videos that we would post after the show. If we can do both, we will (try).

In any case, whatever we do end up with will pop up on this post, and our What’s Mine Is Ours page

‘I Am The Highway: A Tribute To Chris Cornell’ will take place on Wednesday, January 16, 2019 at The Forum in Los Angeles. The event will feature performances from the members of Soundgarden, Temple of the Dog and Audioslave, plus Foo Fighters, Metallica, Ryan Adams and many more. Tickets go on sale this Friday, November 16 at 10am pt at: http://bit.ly/IAmTheHighway. Proceeds will benefit EBMRF.
— ChrisCornell.com 11.13.2018

Additional artists have been added to I Am The Highway: A Tribute to Chris Cornell on Wednesday, January 16, 2019 at The Forum in Los Angeles. Fiona Apple, Brandi Carlile, Josh Homme, Miley Cyrus, Adam Levine, Ziggy Marley, Miguel, Taylor Momsen, Chris Stapleton and other special guests will join the star-studded concert event.

Posted by Matt Cameron to Instagram stories. Uploaded by AlternativeNation.net on 2019-01-09.

Matt Cameron on Instagram

Taylor Momsen on Instagram

Brad Wilk on Instagram