Fan Photos From The Los Angeles "Artists Den" Premiere

If you would like to share your photos or video clips from the event, you can email them to Jeff@Jeffgarden.com or upload to our Google Drive here


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RollingStone - "Soundgarden’s Kim Thayil: My Favorite Grunge Albums"

Rolling Stone magazine’s recent “50 Best Grunge Albums “ featured 5 Soundgarden albums, prompting them to reach out to Kim and ask for his personal favorites. Below is the magazine’s write-up of Soundgarden’s albums (plus a couple compilation and side-project records), followed by their follow-up with Kim.

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Soundgarden, ‘Screaming Life’ (1987)

A far cry from “Black Hole Sun,” Soundgarden’s first big release, Screaming Life, is knotty, trippy and sprawling. At the time, guitarist Kim Thayil didn’t riff so much as swirl his lines around the rhythms, bassist Hiro Yamomoto wrung uncharacteristically chiming notes from his instrument and Chris Cornell was a topless howling banshee. Opener, “Hunted Down,” which was also the band’s first single, rattles and lunges unpredictably, as Cornell sings about wearing a “permanent disguise”; “Tears to Forget” boasts harder-hitting rhythms than the version on the Deep Six comp; and “Hand of God” is like a twisted, stuttering heavy-metal funk song (something the band would attempt somewhat more seriously on their bizarre cover of the Ohio Players’ “Fopp,” off the Fopp EP, which Sub Pop has added to Screaming Life). “Prior to Screaming Life, we were kind of angular and jagged,” Thayil once told Rolling Stone. “We did a lot of psychedelic stuff built around the feedback and Hiro’s bass lines. Gradually, that psychedelia made it so I was pushed into doing solos. Then the riffs started getting heavier. You just see how the audience responded to what we were doing, and you flow with that. Our songs started getting a little bit slower and heavier.” The record was pure art-punk, and it showed just how malleable grunge could be. K.G.

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Soundgarden, ‘Louder Than Love’ (1989)

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Grunge’s major-label debut is a lumbering, lubricious, pistol-whipping blow to the head. Although songs like the revolutionary-minded “Gun,” orgy-themed “Full On Kevin’s Mom” and the tongue-in-cheek “Big Dumb Sex” (“I know what to do/I’m gonna fuck, fuck, fuck, fuck you” in full stereophonic glory) are decidedly not ready for primetime, the album climbed into the lower half of the Billboard 200 and proved to be influential, inspiring Metallica’s Kirk Hammett to write the riff for “Enter Sandman” (“I was trying to capture their attitude toward big, heavy riffs,” he said) and providing cover fodder for Guns N’ Roses, who interpolated “Big Dumb Sex” into T. Rex’s “Buick McCane.” Future Pantera producer Terry Date worked with the band and helped them play up their metal edge, but that obscured the irony of some of the songs, which were more “meta” than metal. “I’ve learned that parody only works if you’re ‘Weird’ Al Yankovic and that’s what you do,” Chris Cornell said in 1994 of GN’R’s appropriation of “Big Dumb Sex.” “If you listen to that song, and you don’t know the band, and you don’t know that we’re joking, then it is [like] Aerosmith.” The band would revamp its sound on its next record, 1991’s Badmotorfinger, following Cornell’s more traditionally rock-oriented Temple of the Dog side project and the departure of bassist and prolific songwriter Hiro Yamomoto, making the unwieldiness of Louder Than Love all the more impressive in hindsight. They couldn’t have taken this sound any farther. K.G.

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Soundgarden, ‘Ultramega OK’ (1988)

When Soundgarden recorded “All Your Lies” for the Deep Six comp in 1986, the track was a messy, herky-jerky guitar explosion, and Chris Cornell snarled on it like a cat in heat; he even gave it a little demon laugh. The band overhauled the tune for its first full-length, the Grammy-nominated Ultramega OK, released two years later, and turned it into a bulldozing punk-metal juggernaut with a faster tempo and more cutting vocal attack. “We were unclassifiable,” Cornell said shortly before his death, “but we were unselfconscious about songwriting so we weren’t manufacturing anything.” That carefree aggressive sensibility resounds on the album’s leering, Led Zeppy “Flower,” the lumbering “Incessant Mace,” the locomotive “Mood for Trouble” (which spins the riff from the Doobie Brothers’ “Long Train Runnin'” on its head) and concert showstopper “Beyond the Wheel,” on which Cornell stretches his vocal chords across three octaves, and guitarist Kim Thayil and bassist Hiro Yamomoto make their instruments flutter. “I was trying to ratchet up the intensity,” Cornell told Rolling Stone of the latter song in a previously unpublished interview. “I remember thinking, ‘Is this going to seem like sort of a geek trick [showing] I could sing in three octaves?’ I was trying to avoid that. Ultimately it became one of those songs where it could never be a radio single, it was on an indie album, but it’s one that people always react to as though it were a hit song on the radio.” K.G.

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Various Artists, ‘Deep Six’ (1986)

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Leaf through the pages of the freshman class of Seattle grunge’s yearbook — a.k.a. the booklet that accompanied the 1986 multi-band compilation Deep Six — and you’ll see Melvins’ Buzz Osborne rolling his eyes back into his skull while digging his pick into his guitar; Soundgarden’s Chris Cornell, shirtless and muscular, channeling Iggy Pop; and Malfunkshun’s Andy Wood mugging like a New York Doll. The comp is an invaluable document of where it all began. The record, which came out on the Seattle label C/Z, collects 14 ragers from Soundgarden, Melvins, Green River (which begot Pearl Jam and Mudhoney), Skin Yard (featuring guitarist turned producer Jack Endino), Malfunkshun (Mother Love Bone singer Andy Wood’s first band) and the U-Men. The recordings are crude and heavy — Deep Six’s highlights include Soundgarden’s Devo-ish “All Your Lies,” Melvins’ furious “Blessing the Operation” and Green River’s seething “10,000 Things” — but that raw vitality is part of its charm. This is basically an ultrasound of grunge in utero. When Melvins paid tribute to Chris Cornell earlier this year, they included Malfunkshun’s walloping “With Yo’ Heart (Not Yo’ Hands)” in the set, ostensibly as a nod to Wood’s influence over Cornell and the scene as a whole. “The Deep Six compilation was really important to us,” Green River drummer Alex Shumway recently told Rolling Stone. “It was the first time we went to a ‘real studio.’ It had this mind-blowing feel to it. And it’s like everybody on Deep Six has become famous or there’s a person in the band that has moved on in the industry.” K.G.

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‘Singles: Original Motion Picture Soundtrack’ (1992)

With Cameron Crowe writing and directing and Matt Dillon and Bridget Fonda leading the cast, the flanneled rom-com Singles symbolized grunge’s cultural-crossover moment. But starting with the fact that Crowe had begun working on it pre-Nevermind and that he had his own personal bond with Seattle (his then-wife, Heart’s Nancy Wilson, was a longtime resident), Singles was far from a crass cash-in. And its accompanying soundtrack, released several months in advance, was a note-perfect introduction to the scene by way of new, direct-to-Singles contributions from many of its leading lights. Some of those tracks — Pearl Jam’s ferocious “Breath” and “State of Love and Trust,” Screaming Trees’ burly “Nearly Lost You” and Alice in Chains’ Andrew Wood homage “Would?” — were peak grunge moments, and Chris Cornell’s acoustic “Seasons” captured the lesser-known psych-folk side of the scene. (Tracks by Jimi Hendrix and Ann and Nancy Wilson’s Lovemongers side project also reminded everyone that Seattle rock didn’t start with grunge, either.) Crowe, a fan of the way director Mike Nichols used Simon and Garfunkel songs in The Graduate, called the Singles soundtrack “like a little Graduate moment that happened. Singles felt like an opportunity to really fly into the arms of that feeling.” D.B.

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Soundgarden, ‘Superunknown’ (1994)

By 1994, grunge had taken over the radio, the festival world (Lollapalooza) and MTV, but where could it go from there, especially as an art form? Soundgarden knew: The band had to show it wasn’t just that month’s flavor but the next phase of rock itself. As Chris Cornell later told RS, “I felt like all of us were going to have to prove that we deserved to be playing on an international stage, and to have videos on TV and songs on the radio, and it wasn’t just a fad like the ‘British invasion’ or a ‘New York noise scene.'” In the face of that pressure, Cornell and his bandmates wrote their most robust group of songs — from bucking-bronco rockers like “Drown Me” and “Superunknown” to dark psychedelia like “Black Hole Sun” and “Fell on Black Days” — and producer Michael Beinhorn sculpted the splattered-paint fury of their early days into something colossal. The result was a fourth album that coincidentally was Soundgarden’s own Led Zeppelin IV: a record that revealed new, often subtler facets of the band and instantly felt like one of the landmark hard-rock records of all time. D.B.

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Temple of the Dog, ‘Temple of the Dog’ (1991)

The death of Mother Love Bone singer Andy Wood in March of 1990 left the Seattle rock community completely devastated. The charismatic frontman was close friends and roommate with Chris Cornell, who poured all his heartache into new songs like “Say Hello 2 Heaven” and “Reach Down.” Once he played them for surviving Mother Love Band members Jeff Ament and Stone Gossard and learned they’d just formed a new band with some guy from San Diego named Eddie Vedder, they all decided to come together and honor Wood by recording them under the moniker Temple of the Dog. It didn’t take for the project to grow into a full album. “It was a time when more importance was placed on albums,” Cornell told Rolling Stone in 2016. “Then it became cathartic and fun.” After Cornell’s shocking death in 2018, the songs of loss and regret took on a whole new meaning. A.G.

2
Soundgarden, ‘Badmotorfinger’ (1991)

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After Chris Cornell had a revelation while working on Temple of the Dog, a project that forced him to refocus his songwriting toward catchier and more concise tracks, he led Soundgarden into a new era with Badmotorfinger, the band’s commercial breakthrough. Although drummer Matt Cameron proudly told Rolling Stone“We don’t make pop records,” when the album came out, it arrived at a time of sea change for heavy rock, and the band scored a trio of hits with “Outshined,” “Jesus Christ Pose” (thanks in part to MTV banning its video) and the rhythmically off-kilter “Rusty Cage” — the last of which Johnny Cash later covered. Each of the songs had a uniquely brutalizing riff, paired with Cornell’s otherworldly, always-perfectly-on-pitch shrieking, that made it a classic. Meanwhile, deeper cuts like “Slaves & Bulldozers” and “Searching With My Good Eye Closed” became live go-tos, because of the way they pummeled audiences. “After Louder Than Love, we kind of had to turn back,” guitarist Kim Thayil once said. “The dark psychedelia, which was replaced by our slight visceral heaviness on Louder Than Love, that came back and so did the quirkiness [on Badmotorfinger].” Soundgarden were heavier than Nirvana and Pearl Jam, but they still wrote anthems, securing them an easy place among the first wave of grunge superstars; the album made it to Number 39 on the Billboard 200 and has since been certified double platinum. It also earned a Grammy nomination. “I love Badmotorfinger because it sounds great in a car,” Thayil once said. “It’s got a lot of weird quirks in it — as is typical with Soundgarden. We always added that element of crazy and weird. We had an ability to not take ourselves too seriously, while committing to the heaviness. Sort of like laughing while kicking your ass.” K.G.


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Soundgarden’s Kim Thayil: My Favorite Grunge Albums

From Nirvana’s ‘Bleach’ to ‘God’s Balls’ by Tad, the guitarist shouts out records by Seattle-area bands

Kory Grow April 2, 2019 12:06PM ET

When Rolling Stone compiled our list of the 50 Greatest Grunge Albums, the MVP was clearly Soundgarden. Five of the band’s records made the cut — everything they released from their debut, Screaming Life, through 1994’s Superunknown — and two of those LPs placed in the top 10. Their 1991 album, Badmotorfinger, came in at number two, following only Nirvana’s Nevermind.

The group formed in 1984, playing psychedelic punk on early songs like “Hunted Down” and “All Your Lies,” tracks that showed off Chris Cornell’s jaw-dropping vocal ability. Eventually they introduced genre hallmarks like off-kilter time signatures, heavily thunking riffs and melodic pop songcraft until they were dominating radio playlists with songs like “Outshined” and “Black Hole Sun.” Their trajectory paved the way for many of their peers; they were one of the first bands to sign with Sub Pop and they were the first grunge act to sign with a major label.

Because of Soundgarden’s importance, we reached out to the band’s guitarist, Kim Thayil, to find out what his favorite grunge records are, and how he defines the genre. “I think for a number of years, most of the Seattle bands avoided the term ‘grunge,'” he says. “It’s kind of hard to recall what might be considered grunge or what might have been referred to as metal or pop or punk. I think the easy way to define it would probably be: ‘Seattle-area music of a particular community and genre during a particular period of time from the mid-Eighties to the mid-Nineties.'”

To narrow it down, Thayil — who says he currently has no projects in the works, “just a lot of things on paper and in my head” — picked records by artists that started up mostly in the Seattle area and put out albums on regional labels. Here are his favorites.

Nirvana, Bleach (1989)
I’m picking Bleach for this list on the strength of “Negative Creep,” which would be amazing as a hardcore song or as sort of a metal-grunge song. I also love the riffs on “Blew” and “Swap Meet”; I’d listen to those over and over. That record was so popular with our band when we were touring. We’d play Fugazi, Margin Walker; Meat Puppets II; Neil Young, After the Gold Rush; and Nirvana, Bleach, all the time on a cassette player in our van.

Nivana opened up for us a few times, and we were like, “Shit, these guys are good.” I remember thinking they’ve got some cool songs and Kurt could sing, but their stage presence really didn’t have that confidence or identity yet. Kurt would just stand there and not move, and his hair was in his face. He had zero charisma, except for [the fact] he had a good voice. Chris [Cornell] definitely picked up on his voice. In a year or so, they found their groove and that confidence. Live, it was pretty amazing.

Green River, Dry as a Bone (1987)
Of all the Green River records, I liked Dry as a Bone the best. The first record, Come On Down, is a little bit more grungy I suppose, but it’s not as memorable as the stuff on Dry as a Bone. And their Rehab Doll album is sort of like tipping their hat toward L.A. glam, which I never like that shit, ever. But Dry as a Bone is the one that got me with the vibe that was like the Dead Boys and Aerosmith.

At the time, I think [guitarist] Bruce [Fairweather] was hyping them as being like the Stooges meets Aerosmith. I never really saw the Stooges thing. I also love Dry as a Bone because of its packaging, that sort of [Green River and Pearl Jam bassist] Jeff Ament school of graphics that was popular back then. I love the fact that it’s a quick record, five or six songs and they’re all pretty strong.

Melvins, Gluey Porch Treatments (1987)
I could pick almost anything by Melvins, but I’m going to say Gluey Porch Treatments since it was their debut album. They made a lot of albums that were more inventive creatively and better produced sonically, but I’m picking this one because I like to think of them in that period.

They were the slowest band in the scene, but they started of being the fastest. At times Buzz had this Gene Simmons thing to his vocals, but the music was incredibly arty and somewhat experimental even if they were never self-conscious about it. They may not have been aware they were being so arty at the time, but all the rest of the bands certainly took notice. Just the fact that they slowed down was a big deal. The fact that they have arrangements that would often not repeat was cool too; it would just be a linear sequence: A, B, C, D, N.

U-Men, U-Men EP (1984)
There’s an argument about whether the U-Men are grunge or not. They’re certainly proto-grunge. Everybody kind of looked up to them. They were distinct from all the other bands in Seattle in the early Eighties; most of the bands in Seattle kind of sucked. They were either goofy New Wave or some kind of college butt-rock. And then the U-Men came along and they had these jagged rhythms. They were inventive and had a lot of charisma. Everyone in that fuckin’ band had a presence. It was fun to watch, and the way they related to the audience and each other was great.

Malfunkshun
In the absence of a real Malfunkshun album, I’ll say all Malfunkshun should be on this list. There’s an album called Another Pyrrhic Victory, and Malfunksun had a couple of songs on that, “My Only Fan” and “Shotgun Wedding.” And the Deep Six compilation had “Stars-N-You” and “With Yo’ Heart (Not Yo’ Hands).” Those are amazing songs. And there’s a Malfunkshun album [Return to Olympus] that’s posthumous on the Loosegroove label.

That band was very inspirational and influential, just because they were heavy as shit. Kevin Wood’s guitar playing was way fast and not coherent; it was this chaotic, crazy fast thing. And [singer] Andrew [Wood] was crooning, dressed-up and comical, and then when the riffs came in, it was truly heavy. It was just amazing. They could also have a nice R&B groove when they needed one in the metallic sets. They would refer to themselves as “Mötley Crüe North” or “Kiss West Coast.” It was hilarious.

Andy Wood was a fun guy. He was definitely a character and a personality. [Editor’s note: Wood died in 1990.] Even at shows Malfunkshun didn’t play, we’d get Andy to MC as “Landrew, the Love Master of Ceremonies.” There were a few shows we were headlining, and Landrew would come out and introduce each band, and he would come down from “Olympus” and introduce the bands. It was hilarious. He was wearing these giant Smurf boots, and he’s got makeup on.

Skin Yard, Hallowed Ground (1988)
I don’t think any of us [in Soundgarden] really liked the first Skin Yard record, but we liked them as people and the uniqueness of what they were trying to do. Then they became heavier, more in the mold of Soundgarden or Tad, and they started making better records that were kind of fun. By the time they put out Hallowed Ground, they were getting into the groove and had the rock idea going.

Jack Endino was experimental as a guitarist, but he’s got a background that’s all rock. He’s the one who turned me on to Budgie and the Groundhogs back in the early Eighties, and of course he loved Sabbath. He likes big riffs. On Hallowed Ground and the subsequent records, they really captured Jack’s interest and his strength as a rock fan and rock guitar player. When the songs got stripped out a little bit to become more rock, it was also a lot easier for [vocalist] Ben [McMillan] to develop lyrics and melodies that would fit, so I think on this one you get the best of Ben McMillan and Jack Endino. [Pauses] And we got the best of Skin Yard when their drummer, Matt Cameron, came over and joined us.

Mudhoney, Superfuzz Bigmuff (1988)
Mudhoney had this great presence from [singer-guitarist] Mark [Arm]. And I always liked the way Steve [Turner] played guitar; I liked his solos, because they were loose and somewhat expressive. It’s easy to be supportive of them. I’m putting Superfuzz Bigmuff on this list for no other reason than the song “In ‘n’ Out of Grace,” which his probably still my favorite Mudhoney song. I love the line, “Oh, God, how I love to hate,” and the way it kicks back in from Danny [Peters’] drum solo. It’s just an amazing moment every time they do it live. And the groove is cool; it’s this weird Blue Cheer thing.

Tad, God’s Balls (1989)
I’m picking God’s Balls because of [bassist] Kurt [Danielson’s] poetic background. I think some of that insight contributed to the band. And then I love Gary [Thorstensen’s] inventive guitar playing and use of feedback. He had colors to augment what would otherwise be the same old linear groove. That album was so important because it helped establish Tad as an influential and significant artist from the Seattle scene. They weren’t just knuckleheads.

When they came out, they were marketing [frontman Tad Doyle] as some kind of retarded lumberjack, but he’s an incredibly smart, articulate multi-instrumentalist and a producer and engineer himself. They had him write his name left-handed on the single: “My Name is Tad.” What the fuck? It was silly and obnoxious because Tad’s a super smart guy.

Screaming Trees, Clairvoyance (1986)
I don’t know what you’d call them, but they were probably grunge at least by fashion. They were wearing flannel independently of us. I like Clairvoyance for the song “Clairvoyance,” but my favorite song on there is probably “I See Stars” followed by “Orange Airplane.” After this album, they kind of fattened up their sound.

Their influence and impact on us and on Seattle was definitely significant. They were influential in getting us on [the record label] SST. They came to see us out in Ellensburg [Washington] and they talked us up to Greg [Ginn] and Chuck [Dukowski]. SST was our favorite label in the early to mid-Eighties. Since then, [Soundgarden bassist] Ben [Shepherd] has worked with [Screaming Trees frontman Mark] Lanegan, Chris [Cornell] co-produced Screaming Trees’ Uncle Anesthesia and they were managed by our manager for most of our career, Susan Silver, at some point. They were very much part of the family.

Alice in Chains, Facelift (1990)
Alice in Chains came from a different scene, but then started playing with us and Pearl Jam, and they played some shows with Nirvana on Facelift. I think of a song like “It Ain’t Like That,” and I love the groove. When I would play with them onstage, they’d ask me what song I want to do, and that was the one. [Sings the opening riff] I love that riff and that song. I wish I’d written it, and that’s why I love that album — just because of that song. It’s easy to fall in love with something when you think, “Why the fuck didn’t I think of that?” The whole record has great stuff on it.

Pearl Jam, Ten (1991)
Ten was a super album with the super hits. It kind of speaks for itself. Everyone has a copy of that at some point. There’s no question it’s a great record, simply in terms of commercial success, and personally it’s important to me because I know those songs from a live context.

I saw them live a few times before the record came out as [original band name] Mookie Blaylock and as Pearl Jam. Mike McCready and Eddie [Vedder] were strong additions to what Jeff [Ament] and Stone [Gossard] had been doing in their previous bands [Green River and Mother Love Bone]. Mike was a really strong lead guitar player who worked with where their songwriting was going, and it was just emotive. It could do all the things you want a lead guitarist to do, especially for the songs they were writing. And then it complemented one of the greatest rock vocalists ever, someone who was so emotive that the first few times I saw him, I actually had those weird tingles go up my spine. I think Jeff Beck’s done that for me, and Chris [Cornell] and Eddie and Derek Trucks. I’m sure there are other performances that have done that for me, but Eddie’s voice certainly did that.

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

Soundgarden fan Taylor Pearn meets Kim Thayil on the MC50 tour in Glasgow

Long time fan Taylor Pearn [Facebook] had a chance to catch Kim Thayil on the #KiMC50 tour in Glasgow. Taylor recaps the meet up in this audio clip below:

Article: Soundgarden’s Kim Thayil Talks About Putting Together That Massive Chris Cornell Box Set [Vulture]

Article: Vulture
Author: Stuart Berman
Photo: Kevin Winter/Getty Images


When a band is mourning the loss of a key member, the recuperation process can take several different forms: commemorative books, memorial concerts, reality-TV recruitment drives. For the friends and family of the late Soundgarden singer Chris Cornell, it’s spurred a yearlong effort to distill a wildly eclectic three-decade career into a cohesive, comprehensive portrait of one of rock’s most versatile voices.

The resulting 64-track, four-disc box set, titled simply Chris Cornell, is the first collection to encompass all facets of the singer’s free-ranging discography: Soundgarden’s golden grunge greats, Audioslave’s alt-rock hits, and highlights from a solo catalog that zigzagged between campfire serenades, James Bond themes, and Steve Aoki remixes. (There’s also a trove of live performances, covers, and unreleased tracks.) Overseeing curation of the Soundgarden selections was guitarist Kim Thayil, who, following the band’s 2009 reunion, has served as the band’s de facto archivist, spearheading a series of reissues and compilations that have helped establish Soundgarden’s presence in the digital age and regenerate their fan base.

True to the band’s original mission of demystifying and punking up ’70s-style hard rock, Thayil has traditionally kept the lowest profile of any Soundgarden member outside the band, and understandably, he’s been especially covert since Cornell’s death. But he’s recently reemerged to play the Fred “Sonic” Smith foil to Brother Wayne Kramer in a recombinant 50th-anniversary version of Detroit proto-punk legends the MC5 (dubbed MC50), whose current European tour happens to coincide with this week’s release of Chris Cornell. Prior to kicking out some jams in Paris, Thayil spoke to Vulture over a shaky cell-phone connection to talk about life after Chris.

How’s it feel being on this MC50 tour? I imagine it must be a therapeutic experience for you …
I suppose. It could be a lot of things …

How did this opportunity come about?
Wayne Kramer called me a year ago, and asked if I’d be interested in jamming and playing with them, and going on tour for a year. And I said, “of course,” because they’re my favorite band.

Has playing with the MC5 given you any fresh perspective on how a band can soldier on without its original front man?
No, this is just an opportunity to celebrate 50 years of Kick Out the Jams, that’s what it is. I don’t think it translates to any perspective on Soundgarden; it’s a separate thing.

You recently played Detroit — what was that like? 
It was a triumphant homecoming for Wayne, certainly … we did three really fun shows.

But I imagine it was also very bittersweet experience for you.
Nothing I’m going to share with your audience.

So what has this last year and a half looked like for you? Did you feel like you had to stay busy to keep your mind occupied, or was it a more meditative experience?
A bit of both, I suppose. Eat, drink, shit, walk the dog, like everybody else. Drinking …

How does it feel to be revisiting Chris’s work now through this retrospective? 
This started over a year ago, so most of the revisiting went on the summer before this past one, when we came up with the general track list. Most of what I tended to [on the box set] was Soundgarden’s work, so I don’t have to listen to any of it; I can just look at the titles and reference it by memory just fine.

Any fan could conceivably put together a playlist of Soundgarden favorites. What perspective on Chris’s work were you hoping to show through your selections?
I guess I’m doing some of the work for them, I suppose. I can direct them to the … I don’t want to use the term “evolution,” because it gets misused, but to the growth and transformation of Chris’s talents, either as a songwriter and singer. There’s a chronological organization; it’s also organized by the various projects he was involved with.

Is there a song on this collection you were especially keen to include that’s really meaningful to you?
Yeah, I prefer the Soundgarden songs, thank you — as opposed to two-dimensional versions of it. [Laughs.]

When you read testimonials about Chris in the early days, a lot of people say he was a natural-born rock star from the very beginning. But Chris also said that, as a teen, he was more of a New Wave fan than a Led Zeppelin fan, and that he envisioned Soundgarden as a weird post-punk band. What did you make of Chris when you first met him? What drew you into his orbit? 
I think it was the way we connected musically. When we jammed together, we immediately started writing songs — it came pretty easy to us, and I think the interest in the material we were coming up with was enthusiastic and mutually appreciated. We liked the uniqueness and creativity we were sharing. We were coming up with progressive elements, and we liked to focus on emotive things and use chaotic elements — that’s what the band was about. We didn’t like traditional song-structure arrangements. We weren’t interested. Otherwise, I’d go do something else. I’d be a dishwasher.

At what point did you realize this guy in your band wasn’t just a talented singer, but actually one of the greatest voices of our generation?
I don’t know when that point was. It’s really easy to take that talent for granted when you’re around it every day, I suppose.

Soundgarden were all about subverting the hard-rock clichés of the day and stripping it down to just the raw power. But people came to see Chris as this golden-god front man — how comfortable do you think he was in that role?
I don’t know … I think there were probably times where he was not comfortable with it; there were probably other times when he tried to accept it, but he didn’t necessarily reap any rewards from that kind of title, other than critical accolades. It wasn’t like he indulged in that kind of recognition.

From my outside perspective as a fan growing up in the ’90s, it seemed like Soundgarden were the cool big-brother band in the Seattle scene that had their shit together, whereas Nirvana and Pearl Jam seemed a lot less comfortable in the spotlight. What was the feeling on the inside?
I don’t think we were particularly comfortable in the spotlight, either. I think that feeling was generally shared among the Seattle bands.

In a recent interview, Ad-Rock and Mike D talked about how putting together their new Beastie Boys book made it feel like they had their band back, because Adam Yauch was coming alive through the stories being told. Do you get a similar feeling from undertaking archival projects like this?
This particular one, not so much. Other collections we’ve made — Telephantasm, the Echo of Miles collection, the 20th anniversary of Superunknown, the 25th anniversary of Badmotorfinger, the Sub Pop reissue of Ultramega OK— all of those already gave me a perspective on the body of work Soundgarden has. All those things allowed me to reexplore that material, as well as bonus and unreleased material. So, at this point: no.

What are you most proud of when you look back at the catalogue?
I just like the body of work in its entirety. It’s a lot of material. Echo of Mileshad 50 recordings that weren’t on any album — that’s like another four albums right there!

Is there anything left in the vaults?
There is some unreleased Chris solo work, which are nice little gems. And there is material from the Sub Pop period that has never been released.

In interviews, you seem to bounce back and forth between soldiering on or just laying things to rest. What’s your feeling today? 
As long as I have ideas I want to share and people I want to play them with, I’ll do that.

You’re the one member of Soundgarden who’s never joined another band or side project …
Yeah, because Soundgarden was my band! So why would I be a member of another band?

But do you have any designs on doing a solo project of some kind?
Soundgarden was my project!

Is there a specific memory of Chris you have that captures a side to him fans may not have heard in the music? 
He was a playful guy, with a pretty good sense of humor. He was fun to horse around with. He was pretty knowledgeable about gastronomy, too.

RollingStone: Kim Thayil on New Chris Cornell Box: ‘The Main Thing Is to Represent His Versatility’

Kim Thayil on New Chris Cornell Box: ‘The Main Thing Is to Represent His Versatility’

With the release of a new career-spanning Cornell box set, the Soundgarden guitarist explains how the track list came together and shares memories of his late friend

Article: RollingStone.com
Author: CORBIN REIFF
Photo: Jim Dyson/Getty Images

“There’s a lot of things about Chris [Cornell] that people don’t know,” Soundgarden guitarist Kim Thayil tells Rolling Stone. “He didn’t bring a lot of baggage. Meaning, he didn’t carry a lot of things or materials or relationships within his life. He was a little bit independent of that. He traveled lightly.”

It’s late October, and Thayil is slumped on a black leather couch in the green room of the Metro club in Chicago, gamely sharing memories of his longtime friend and bandmate. He’s just come offstage after running through a tight soundcheck with the MC50, Wayne Kramer’s all-star MC5 tribute band, ahead of a barnburner of a show a few hours from now. Almost 29 years ago to the day, he was in this exact same room along with Cornell, drummer Matt Cameron and bassist Hiro Yamamoto while Soundgarden were touring in support of their album Louder Than Love.

The reason Thayil is opening up is because of a new four-disc, career-spanning box set simply titled Chris Cornell that the singer’s estate will issue on November 16th. Now available for preorder, the set features 88 songs that show off the full breadth of Cornell’s incredible musical life from his earliest beginnings with his iconic band Soundgarden to the one-off supergroup Temple of the Dog, his heady years with Audioslave in the early 2000s, and the whole span of an eclectic solo career that saw him writing James Bond theme songs and collaborating with hip-hop producer Timbaland. There’s also a bevy of unreleased live cuts, including a touching duet with his daughter Toni on Bob Marley’s “Redemption Song,” recorded at the Beacon Theater in New York.

As Thayil explains, the goal going in was to capture, “the breadth of his career, and the large spectrum of stylistic approaches to songwriting and the growth that was shown.” He added, “Obviously Chris isn’t there to put in his two cents, so we have to try to appraise what his feelings and sentiments will be. There are some cases where I remember distinctly that Chris didn’t like this song, or he didn’t like this record, or he didn’t like this particular version, so it’s like, ‘Let’s don’t use it.’”

Opening with “Hunted Down,” the very first Soundgarden single released by Sub Pop Records back in 1987, the collection winds through the many twists and turns Cornell took through his artistic life in a largely chronological format. You can listen in real time as his skills as a songwriter refine and develop. “The lyrics get a little bit more sophisticated, I think maybe a little more poetic,” Thayil notes of Cornell’s progression. “Maybe in the early days it was a lot of songs about dogs and the sun, you know?”

Though Cornell wrote most of Soundgarden’s lyrics — “It makes sense for the singer to write the lyrics, especially if you’ve got a great singer,” Thayil says — and a lion’s share of the songs, they were always a collaborative band. Even as Cornell became more confident in his own abilities as a songwriter and would compose fully realized demos on his own — his early, home-recorded version of “Black Hole Sun,” for instance, sounds shockingly similar to the final version on Superunknown — he typically left room for the other members of the band to add their own spin.

“He liked to be a completist, and be a complete author, but he left the solos and the color parts [open] ’cause he always knew that maybe there’s something that’s missing there,” Thayil says. “I would come up with something or [bassist] Ben [Shepherd] would come up with something or Hiro, or Matt.”

Just like anyone, Thayil has his favorite Cornell songs, like the Ultramega OK cut “Beyond the Wheel,” which sadly didn’t make it onto this set. “I think it’s pretty brilliant,” he says. “Psychedelic, heavy, a little sprinkle of evil.” He’s also very partial to “Rusty Cage,” which did make the cut. “There’s something about the guitar riff there that’s really imaginative, and the arrangement is not a verse, chorus, verse, chorus arrangement. It’s kind of like this A chorus and then this B section and it ends with this other entirely different riff.”

Beyond his songwriting, one of the most mesmerizing aspects of Cornell’s artistry was his ability to adapt his otherworldly voice to fit different moods on different songs. From the banshee wails on Audioslave’s barnburner “Cochise” to the subdued and sulky Singles-soundtrack solo cut “Seasons,” he knew exactly how to use his instrument to wring the most amount of emotion from a given piece. For instance, not many rock or metal singers are capable of pulling off something as gorgeous and understated as the rendition of Schubert’s immortal “Ave Maria” included on Chris Cornell. “I think the main thing is to represent his versatility,” Thayil says.

Cornell was also a natural at creating compelling re-interpretations of other people’s songs. There’s his husky take on Jimi Hendrix’s “Hey Baby (Land of the New Rising Sun),” the simmering version of Michael Jackson’s “Billie Jean,” the soaring rendition of Prince’s “Nothing Compares 2 U,” and of course Soundgarden’s inspired spin on the Black Sabbath classic “Into the Void,” where Cornell substituted Ozzy’s lines for a speech written by 19th-century Native American leader Sealth that fit the same meter.

For Thayil, a huge consideration when picking out the tracks for the box is how they might be viewed now given the nature of Cornell’s death. “One of my concerns was just making sure there weren’t any difficult lyric or themes. Just keep that off,” Thayil says. “There’s lyrics, or titles that may not be appropriate in this context. That might be difficult for friends, family.” That presumably meant that Superunknown cuts like “The Day I Tried to Live,” “Like Suicide” and Down on the Upside standout “Pretty Noose” were left out of the discussion entirely.

Because of the darker content of a lot of Cornell’s writing, many people got a sense of him as a brooding loner, but that’s not exactly the guy that Thayil remembers. “He was like a normal kid,” the guitarist says. “Very funny and very fucking goofy.”

Another consideration was to make sure that the contents of the comp stayed out of the way of some future projects that might eventually see release, including some new, unheard Soundgarden songs the band was refining at the time Chris died. “We were working on an album before everything came to a head, so we have some pretty strong demo material that we’re still trying to finish developing and accessing some of the recording material, to be able to flesh it out,” Thayil says.

If “When Bad Does Good,” the one unreleased studio song included on this set, is any indication, Cornell’s songwriting chops were only growing sharper as he grew older. You can thank Cornell’s friend Josh Brolin for the song’s inclusion here. The actor reminded Cornell’s widow Vicky of the song and his love for it after the singer had sent it to him to get his take on it. Written, recorded, produced and mixed by the singer himself, it again demonstrates the completist tendencies that Thayil alludes to. It’s a particularly powerful final statement from the singer-songwriter, with a clear message of hope.

Though Soundgarden has already put out a ton of unreleased archival material in recent years, as on the 25th-anniversary box set for Badmotorfinger, the 20th-anniversary box set for Superunknown and B side collection Echo of Miles, there’s still some tantalizing material left in the vaults. That might include the fabled 15-song cassette tape that comprises the earliest recordings the band made, even before their debut recorded appearance on the Deep Sixcompilation in 1986, when Cornell was still on drums.

“In terms of audio quality, that’s all 4-track stuff that we did in our basement,” Thayil says of that particular set of songs. “It’d be like bootleg-quality type stuff. But I think fans would appreciate that. At some point we’ll do that. That’s three-piece stuff, me and Chris and Hiro.”

“He was a really good drummer,” Thayil notes of Cornell. “He’s not like Matt [Cameron] but he wrote great as a drummer. I think so much so that Hiro and I entertained the idea of getting another singer so that Chris continued to write with us on drums. But Chris really want to get up from behind the drum kit, so he brought in a friend of ours, Scott Sundquist, on drums. It freed him up, and he got to do all the singing.”

Though there really isn’t a future for Soundgarden without Cornell, Thayil remains in touch with both of his other ex-bandmates on a pretty regular basis. In fact, he recently joined Cameron with Pearl Jam onstage at Safeco Field in Seattle, and the drummer has also played several gigs this year with MC50. The trio also memorably reunited in early October for the unveiling of a bronze statue of Cornell just outside the Museum of Popular Culture in Seattle along with the singer’s wife and three children.

“I talk to Matt all the time. We text, we’ll go out to dinner together with family,” Thayil says. “Ben and I will text out of the blue. We have so many mutual friends in common that we tend to cross over and see each other.”

Whatever may become of the recordings Cornell left behind, Thayil is determined to remain involved to help oversee them. “I’m gonna do the stuff that I’ve always done which is basically oversee the catalog, and the whole band would participate in that to some degree,” he explains. “But a lot of the time it’s kind of been my focus and concern from day one.”

In the meantime, he’ll keep playing with the MC50. A few days from now, he’ll actually be back in Detroit, the same city where he performed his final gig with Cornell. “I know that on paper it seems like something that’d offer closure, but I doubt that’s gonna happen,” he says. “Poetic irony too, that, playing with the Motor City Five.”

Seattle Times: "Kim Thayil Talks Soundgarden's Future, Playing With MC5"

Kim Thayil talks Soundgarden’s future, playing with rebooted MC5 — his ‘favorite band ever’

Author: Michael Rietmulder
Article: Seattle Times


Back in the mid-’70s, Kim Thayil was a Chicagoland teen listening to bands like Kiss and Aerosmith, and whichever other hair-flipping rock bands were featured in Creem and Circus magazines. Throughout the pages of those once-revered hard-rock chronicles, he discovered references to bands like the New York Dolls, the Stooges and MC5. It took several months, but the future Soundgarden guitarist eventually turned up a used copy of “High Time,” the last studio album from recalcitrant proto-punk greats MC5.

“I find this and it’s different,” Thayil says. “This is much wilder. This abandon in this music, it’s more dangerous. There’s elements of chaos and a little bit sinister. There’s a political component. The lyrics aren’t as vacuous as the rest of what would have been called heavy metal or hard rock then.”

It was a “significant point of passage” in Thayil’s musical education, and 40 years later the guitarist — who has similarly influenced another generation of musicians — finds himself playing with a reincarnated version of the Motor City Five to celebrate the 50th anniversary of its seminal “Kick Out the Jams” LP, playing the live album in its entirety. Aligned with the White Panther Party, the Detroit agitators — who received their fourth nomination for the Rock and Roll Hall of Fame this week — laid an unruly, politically charged blueprint in the late ’60s that would inform some of the earliest punk bands.

For this anniversary run, founding guitarist/author Wayne Kramer hand-picked a lineup featuring Thayil, Fugazi drummer Brendan Canty, Marcus Durant of Zen Guerrilla and Faith No More bassist Billy Gould (who replaced King X’s Doug Pinnick in July). Soundgarden and Pearl Jam drummer Matt Cameron has joined the band, billed as MC50, for a dual-drum assault on select dates, including their Oct. 16 gig at the Showbox. L.A.’s Starcrawler and Olympia punk vets Fitz of Depression open.

Though he hadn’t heard from Kramer in a while, Thayil sat in on a few songs when an MC5 reunion tour (featuring Mudhoney’s Mark Arm filling in for the late Rob Tyner on vocals) hit Seattle more than a decade ago. Thayil contradicts himself a bit describing his decision to join the MC50 tour, calling it an “obvious no-brainer” but admitting it required some thought. After the death of his friend and Soundgarden mate Chris Cornell, Thayil wasn’t sure if he was ready to make a creative and emotional commitment to another group.

“I think if anyone else had called I would have declined,” Thayil says. “But because it was the MC5, which is my favorite band ever, and that opportunity was there, I had to say yes.”

Seattle fans got a taste of what the Thayil-Cameron connection can do with MC5’s incendiary material when Thayil joined Pearl Jam for a punchy “Kick Out the Jams” cover during the second of the band’s Home Shows in August. As much fun as they were clearly having on stage, Cornell was on everyone’s minds that night, with Pearl Jam covering his low-rumbling rarity “Missing” and Thayil sporting a T-shirt with the late singer’s visage. In many ways it was like “being with the Soundgarden family,” Thayil says, noting both bands share many of the same crew members.

“I couldn’t ask for a more special environment to play in Seattle, to play with my friends,” he says. “We had our family and friends there with us. The whole context was very warm and wonderful and loving.”

As for Soundgarden’s future, Thayil says more releases are in the works. Thayil is managing the band’s catalog, working with Sub Pop on possible compilations, live albums and other unreleased material, as well as discussing potential projects with A&M. While Thayil plans to continue making music with Cameron and bassist Ben Shepherd (among other friends), writing or touring under the Soundgarden banner again seems doubtful. “No, I don’t think that’s anything we’d give reasonable consideration to at this point,” Thayil says. “When I say ‘at this point,’ I mean perhaps ever [laughs].”

Pressed for more, he adds: “I don’t know really what kind of thing is possible or what we would consider in the future. It’s likely nothing. The four of us were that. There were four of us and now there’s three of us, so it’s just not likely that there’s much to be pursued other than the catalog work at this point.”

But for now, Thayil’s having a blast touring with MC50 and looking forward to playing a hometown show, which he says are always “a little bit nerve-wracking.” Like most everyone in the Seattle music scene, Thayil has fond memories of the Showbox, seeing and working countless shows there in the ’80s when he worked at KCMU. And of course, there was that infamous Soundgarden reunion in 2010, when the quartet performed together for the first time in 13 years.

“It kinda felt like I was the mayor of Seattle,” Thayil says of that night. “I had so many friends and family, guys in other bands hanging out. It was pretty crazy.”

Chris Cornell Statue Unveiling At MoPOP

Photo: Jenny Gruber Twitter | Tumblr

Billboard: Soundgarden's Kim Thayil Says MC5 Anniversary Tour Helped Him 'Come Out of the Fetal Position'

Article (Billboard)
9/5/2018 by Gary Graff
Photo: Marc Broussely/Redferns via Getty Images | Kim Thayil of Soundgarden performs on stage at Brixton Academy on Sept. 18, 2013 in London. 


Kim Thayil acknowledges that he "wasn't sure" if he was ready to get out and play in public again when Wayne Kramer called him earlier this year to be part of MC50, his new band celebrating the 50th anniversary of the recording of the MC5's debut album. But as the group prepares to start a North American tour on Sept. 5 in Fort Lauderdale, Fla., the Soundgarden guitarist says it's been just what the proverbial doctor ordered.

"(Kramer) asked if I wanted to play, and my jaw dropped," Thayil, who had been largely out of sight since Soundgarden frontman Chris Cornell died by suicide last May in Detroit, tells Billboard. "I thought two things -- 'Am I ready to come out of the fetal position?' and then 'How could I be any more ready than this opportunity to play with what I consider to be my favorite band.'

"So I made myself ready. It was like, 'Fix your head. This is The One!' When I mentioned it to friends of mine they didn't hesitate; They said, 'Omigod, jeez, this is your dream. You should do this!' The timing was pretty good, I think. I was allowing myself to be ready."

Thayil has been an MC5 fan since he was a teenager and began reading references to the MC5 and the 1969 Kick Out the Jams album in periodicals and interviews with other artists he liked. "At some point I started getting into some heavier music than I was hearing on AM radio and kinda learned to switch the dial from AM to FM and find significantly heavier and trippier music than what I was hearing before, and it was right up my alley," Thayil recalls. "I think I really connected with the MC5 because there was so much to that music. Obviously a band like the MC5 has the influence and appeal across a number of genres -- the obvious ones like acid rock and heavy metal and, later, punk rock, but I would draw a line from the song 'Shakin' Street' to (Bruce) Springsteen's work. And there was the free jazz (the MC5) drew from. So there was a lot there."

The all-star MC50 played a few dates in Europe earlier in the summer, during which Thayil reunited with Soundgarden drummer Matt Cameron. The group -- which also includes Zen Guerilla's Marcus Durant on vocals, Faith No More bassist Billy Gould, Fugazi's Brendan Canty on drums -- wraps the North American tour during late October with two shows in the MC5's home turf of Detroit (where the MC5 recorded Kick Out The Jams live during Halloween weekend of 1968), then returns to Europe during November. MC5 drummer Dennis Thompson, the only other surviving member of the band, may participate in some shows, but on an ad hoc basis.

For Thayil, the immersion has been not only a welcome return to music but a chance to learn even more about his favorite band. "It kind of appeals to the Soundgarden aesthetic," Thayil explains. "There's a combination of those same elements -- a progressive element but also a heavy rock thing and a loose, wild thing -- that I see in MC5. Some of the songs have some really curious, interesting parts, little time changes that can throw the drummers for a loop. Learning as Wayne showed us, there's a lot of stuff that wasn't as readily obvious as you would think by listening to the records, and that was kind of a surprise. And it was cool."

As for the future of MC50, Thayil says he's "getting that vibe" that the group could become a going concern and even make its own music. "I think everyone enjoys each other's company and makes each other laugh and has a similar sort of social and cultural sense about them," he notes. "It does tend to be an open-minded, progressive, forward-thinking group, which I think is probably appropriate for the MC5."

Thayil says that prior to getting the MC50 call he'd been "up and down, in and out" in the wake of Cornell's death. "Everything has improved day by day," he says. "Obviously there's still emotional shadows and ghosts. Like anything else it's something that improves with time." He says he, Cameron and bassist Ben Shepherd "still talk to each other frequently and text and call and check in on each other and see how we’re doing. I imagine we will do more things in the future, one of which will be Matt sitting in on a few more MC50 shows. I'm sure I'll do stuff with Ben as well." Thayil does, however, dismiss notions that anything was visibly amiss with Cornell during Soundgarden's May 17, 2017 concert at the Fillmore Detroit prior to his suicide.

"I thought the show was good," Thayil says. "I remember Chris had just gotten in (to town) and was a little tired and his voice was a little rough, but by about the fourth or fifth song it kicked in and then it was just, like, super amazing -- beautiful, clear and strong and, I thought, particularly emotive." Thayil adds that a moment of the show when Cornell was absent from the stage for a protracted period when the guitar he'd be playing was out of tune and a backup wasn't immediately ready. "He had to leave the stage, I remember, and he just kind of poked his head around and said, 'Go ahead, start without me,' at which point Ben started jamming on something and we all fell in until Chris was ready," Thayil says.

"People speculate, and they get causality in reverse," he adds. "I guess it's natural to try to fill in the blanks to explain a particular mystery," he adds. "I think it's natural to say that, 'We know something terrible happened, so we know there must have been some sort of problem. Let’s see what that problem might be. Well, come to think of it, the show was kind of messy....'"

Soundgarden has been in the midst of archival projects in recent years, with expanded editions of albums such as Badmotorfinger and Superunknown and others. No future releases have been planned yet, and Thayil says he, Cameron and Shepherd are still grappling with how they want to proceed.

"We often reference rock history and we've often commented on what other bands in similar situations have done," Thayil says, "not as a plan or anything but just commenting on how bands have handled situations like this and what bands seem to have been graceful and dignified in how they manage their future musical endeavors and how some maybe were clumsy and callous. We think about those things. We try not to go too deep into these conversations, but stuff comes up after a few beers."

“Oh my god ! Are you Jeffgarden !? I’ve seen fucking Jeffgarden !” - Kim Thayil

We hung around after tonight's MC50 show with Kim Thayil, and Kim came out to autograph a few things and talk to fans briefly.  Had a bit of a surprise when Meghan mentioned the site and Kim recognized it !

Pearl Jam's 2nd Seattle Show Features Kim Thayil, Mark Arm, & "Missing" Chris Cornell Cover

Pearl Jam covered Chris Cornell's "Missing" at their 2nd Seattle show on Friday (August 10th).  Kim Thayil also came out to perform MC5's Kick Out The Jam's, and later returned to join Mark Arm of Mudhoney for "Search & Destroy" and "Sonic Reducer". 

Below are some of our video clips of the Missing and Kick Out The Jams performances.  We will also add photos to this post soon.

Sonic Reducer with Kim Thayil and Mark Arm of Mudhoney. Video by North South Central Live

All video clips are ours except for Sonic Reducer which is from  North South Central Live

LoudWire: "Watch Soundgarden Duo Rehearse Together As Part Of MC50 Tour Preparation"


It was teased last month that Soundgarden and Pearl Jam drummer Matt Cameron would be making a special appearance as part of the MC50 touring lineup, celebrating the legacy of Rock Hall-nominated outfit MC5 as they mark their 50th anniversary year. This will mark the first time Cameron and Soundgarden guitarist Kim Thayil will perform together since Chris Cornell's death. Fans got an early sample of what that will look like with the newly posted rehearsal footage.

Cameron posted a video clip, featuring cuts of the all-star band playing and jamming through "Rocket Reducer No. 62" in the studio. The group not only features MC5 leader Wayne Kramer, but you'll also see footage of Dug Pinnick of King's X, producer/bassist Don Was, former Fugazi drummer Brendan Canty and vocalist Marcus Durant jamming in the studio. Many of the shots in the video are the members posing during photo shoots, but for a few seconds, you see Thayil and Cameron playing together.

In addition to Cameron's posting, Danny Bland has offered a number of Instagram shots from the rehearsal that can be seen below, including a potential set list for the upcoming tour. MC50 will hit both Europe and the U.S. during the run, with Cameron set to drop in on the trek June 8 at the Northside Festival in Denmark.

The U.S. leg starts Sept. 5 in Fort Lauderdale, Fla. and runs through Oct. 27, finishing in MC5's hometown of Detroit for two shows. Get all the MC50 tour and ticketing details here.

[Updated With Full Tour Dates] South Florida MC50 [with Kim Thayil] Date Announced (Sept. 5th)

Ticketmaster has posted a Wednesday September 5th date for MC50 at Revolution Live in Fort Lauderdale, FL

General Admission tickets go on sale this Friday (April 6th) with Presale tickets going on sale Wednesday April 4th. 

Ticketmaster

Facebook [Main] [Event Page]

MC5 1.jpg

[UPDATE] Full Tour Dates

September 6 - Saint Augustine
September 7 - Atlanta, GA
September 9 - Nashville TN
September 13 - Boston, MA
September 14 - Huntington, NY
September 15 - Philadelphia, PA
September 17 - New York, NY
September 18 - Montreal, QC, Canada
September 19 - Toronto, ON, Canada
September 21 - Millvale, PA
September 22 - Grand Rapids, MI
September 23 - Cleveland, OH
September 25 - Milwaukee, WI
September 26 - St. Louis, MO
September 29 - Dallas, TX
October 1 - Tempe, AZ
October 3 - San Diego, CA
October 4 - San Francisco, CA
October 16 - Seattle, WA
October 17 - Vancouver, BC, Canada
October 19 - Salt Lake City, UT
October 20 - Englewood, CO
October 23 - Minneapolis, MN
October 24 - Chicago, IL
October 25 - Cincinnati, OH
October 26 - Detroit, MI
October 27 - Detroit, MI

Article: Inaugural Promise Award Celebrated With Emotional Tribute To Chris Cornell [Updated]

UPDATE: Vicky's Tweet

Source: PR News Wire

Inaugural Promise Award Celebrated With Emotional Tribute To Chris Cornell As Ryan Tedder Of OneRepublic Performs The Promise To Standing Ovation

The Event Raised Over $1.8 Million - Setting A New Fundraising Record For Human Rights Watch's LA Committee

Human Rights Watch

Nov 15, 2017, 19:21 ET

LOS ANGELES, Nov. 15, 2017 /PRNewswire/ -- The Los Angeles Committee of Human Rights Watch had their most successful fundraising dinner to date, raising more than every year prior.

Ryan Tedder of OneRepublic performs as Human Rights Watch presents the Voices For Justice Annual Gala on Tuesday, November 14, 2017 at the Beverly Hilton Hotel in Beverly Hills, CA. Photo: Benjamin Shmikler/ABImages

Matt Cameron, Vicky Cornell and Kim Thayil pose together as Human Rights Watch presents the Voices For Justice Annual Gala on Tuesday, November 14, 2017 at the Beverly Hilton Hotel in Beverly Hills, CA. (Photo: Benjamin Shmikler/ABImages)

The event, which took place last night at the Beverly Hilton Hotel, had an immense amount of celebrities and influential people in attendance including Eric Esrailian, Serj Tankian, Angela Sarafyan, Kimberly Marteau Emerson, Mike Medavoy, David Foster, Katherine McPhee, and Linda Ramone.  Last night also introduced the inaugural Promise Award, followed by a very special performance by Ryan Tedder and Drew Brown of OneRepublic.

Inspired by the film and song that powerfully depicted the atrocities committed against the Armenian people; the award recognizes an outstanding song, television show, or film that advances the values of equity and justice in an original and powerful way. Fittingly, the inaugural honor was awarded to the late legendary singer and songwriter Chris Cornell in recognition of his song, The Promise.  The award was presented by Producers of The Promise Eric Esrailian, Mike Medavoy, Writer/Director Terry George, and Singer/Songwriter, Human Rights Activist, and Composer Serj Tankian.  Chris's wife, Vicky Cornell, accepted the award on his behalf and was accompanied by Cornell's bandmates, Kim Thayil and Matt Cameronof Soundgarden.

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Pioneering recording artist Chris Cornell, who sadly passed away in May, wrote the title song for the film, The Promise, the first major film about the Armenian Genocide. The song and its video compellingly weave the Genocide with humanitarian crises of today. The song focuses on courage, perseverance, and hope -- connecting us to emotions that characterize and amplify the worldwide struggle for human rights. Cornell donated all proceeds from the song to benefit refugees and children, and his song continues to inspire millions as an anthem for the human rights movement.

"We are proud to name this award after The Promise, and present the inaugural award to Chris Cornell's inspiring song," stated Justin Connolly, Director of Human Rights Watch's Los Angeles Committee.

Following the award, songwriter, Grammy Award-winning record producer, and OneRepublic front man Ryan Tedder graced the stage and honored the late Soundgarden lead by performing an acoustic version of "The Promise" with bandmate Drew Brown to a standing ovation.

 

About The Promise
The Promise Film, the first major Hollywood film about the Armenian Genocide, has raised unprecedented awareness about the atrocities and recruited the general public and influencers from around the world to fight for human rights with its #KeepThePromise social media campaign. All proceeds of the film are being donated to non-profit organizations and humanitarian causes—including the establishment of The Promise Institute for Human Rights at UCLA.

About the Human Rights Watch – Los Angeles Committee
Human Rights Watch is one of the pre-eminent Human Rights Organizations in the world, with 430 staff investigating abuses in over ninety countries.  The Los Angeles Committee supports Human Rights Watch through outreach, advocacy and fundraising. It is part of a network of committees across 22 cities in East Asia, Europe, the Middle East and North America. For over 25 years, the Committee has dedicated itself to broadening awareness of human rights issues throughout Southern California.

SOURCE Human Rights Watch

We Will Be Attending The 20th Anniversary Screening Of HYPE ! In Seattle, Sept. 25th

If we are able to get any photos or anything else to share, we will of course share here.
 

Source (siff.net)

Hype!

USA |  1996 |  84 minutes |  Doug Pray

September 25, 2017

Local Sightings Film Festival (Northwest Film Forum) co-presented by SIFF

Join us for a 20th anniversary screening of Hype!, the legendary rock documentary from director Doug Pray, and drop back into the Seattle of the early ‘90s as the underground music scene exploded into the global pop culture phenomenon of “grunge.” Hype! uses rare concert footage and insider interviews to trace the movement from its subversive start in neighborhood basements to Nirvana’s “Smells Like Teen Spirit” hitting number 1 on the charts. As the popularity of the genre grew and “grunge fashion” hit the runways, questions of money, authenticity and fame come to a head. The Northwest experience is one of humor, loss, and epic irony. Hype! has live performances by Soundgarden, Pearl Jam, Mudhoney, and more.

Special pricing - $16, $13 for SIFF and NWFF Members

Showtimes

Monday, September 25, 2017

Live performance:

The band playing before the screening is the Schmidtheads, a spin-off of legendary late ‘80s proto-grunge band The Thrown Ups. Three of the Schmidtheads (Leighton Beezer, Ed Fotheringham, and Scott Schickler), were featured on the seminal 1988 release, Sub Pop 200, which has been called “The Mayflower of Grunge.” A fourth member, Jo Smitty, was in the early ‘80s band Mr. Epp and the Calculations (which was also Mark Arm and Steve Turner’s first band, long before Mudhoney formed).

Host:

The screening will be introduced by legendary radio DJ Marco Collins, who helped introduce grunge to the world in the early ‘90s on Seattle’s “The End” 107.7FM.

Other attendees:

Invitations are still going out and we’re awaiting word from a number of invited guests, but we have confirmations from the following, all of whom are featured prominently in Hype!(and also were interviewed for Doug Pray's 2017 short film "Hype! 20 Years After” which is a bonus feature on the new Blu-Ray / DVD re-release of Hype!). There will be a Q&A after the film which they’ve been invited to participate in:

Mark Arm (lead singer Mudhoney)

Jack Endino, producer (Nirvana, Soundgarden, etc.)

Charles Peterson, photographer

Steve Fisk, producer (Screaming Trees, Beat Happening)

Lulu Gargiulo (Fastbacks)

Kurt Bloch (Fastbacks, Young Fresh Fellows, numerous bands)

Filmmakers attending: Director/Editor Doug Pray, Producers Pete Vogt and Lisa Dutton, Cinematographers Lars Larson and Lulu Gargiulo, and more TBD.

  • Director: Doug Pray
  • Principal Cast: Mark Arm, Chris Cornell, Matt Cameron, Kurt Cobain, Eddie Vedder
  • Country: USA
  • Year: 1996
  • Running Time: 84 minutes
  • Producer: Steve Helvey, Peter Vogt, Lisa Dutton
  • Cinematographers: Rob Bennett, Lars Larson, Lulu Gargiulo