Soundgarden

小簡(jiǎn)介
樂(lè)隊(duì)名稱：??Soundgarden??
成立時(shí)間： 1984
成立地點(diǎn)： 美國(guó)，華盛頓，西雅圖
樂(lè)隊(duì)主力成員： Matt Cameron（鼓）、Chris Cornell（主唱/吉他）、Ben Shepherd（貝司）、Kim Thayil（主音吉他）
樂(lè)隊(duì)臨時(shí)成員： Jason Everman（貝司）、Scott Sundquist（鼓）、Hiro Yamamoto（貝司）
音樂(lè)風(fēng)格： Grunge,Alternative Rock,Hard Rock
風(fēng)格類似的樂(lè)隊(duì)或歌手： Alice in Chains、Pearl Jam、Mother Love Bone、Mudhoney、Stone Temple Pilots、Melvins、Nirvana、Screaming Trees、Tool、The Smashing Pumpkins、Green River、Days of the New、Deftones、Gosmack
本站點(diǎn)對(duì)此樂(lè)隊(duì)的評(píng)價(jià)： 個(gè)性鮮明、技術(shù)精湛并且霸氣十足，堪稱搖滾樂(lè)壇的無(wú)冕之王。
發(fā)行的作品： 《Ultramega OK》1988，SST
《Screaming Life/Fopp》1990，Sub Pop
《Louder than Love》1990，A&M
《Badmotorfinger》1991，A&M
《Superunknown》 1994，A&M
《Down on the Upside》 1996，A&M
這支多才多藝、能適應(yīng)平凡生活的GRUNGE樂(lè)隊(duì)以他們自立的態(tài)度和趨于金屬的音樂(lè)風(fēng)格在90年代初期出現(xiàn)在西雅圖的GRUNGE舞臺(tái)上，并且憑借他們以上的個(gè)性特點(diǎn)于大量的主流樂(lè)隊(duì)區(qū)別開(kāi)來(lái)。最終，這支深受Led Zepplin以及70年代早期戰(zhàn)斗美學(xué)搖滾風(fēng)格影響的樂(lè)隊(duì)始終保持著龐大的氣勢(shì)和GRUNGE的狂躁。他們也以此逐漸被載入搖滾史。
　　Soundgarden的種子是在遠(yuǎn)離EMERALD 市的中西部平原萌芽的。幾位本地的好友——Kim Thayil（吉他）、Hiro Yamamoto（貝司）以及Bruce Pavitt決定搬到華盛頓州的OLYMPIA。1981年，他們?nèi)雽W(xué)學(xué)習(xí)并且在地下文化圈中發(fā)展。隨后，Kim Thayil和Hiro Yamamoto加入了一支名為Shemps的樂(lè)隊(duì)，其中還有歌手兼鼓手Chris Cornell。而B(niǎo)ruce Pavitt開(kāi)辦了一個(gè)叫作FANZINE，這是日后成為著名獨(dú)立唱片公司的SUB POP的前身。不久，Yamamoto與新室友Cornell計(jì)劃成立一支新樂(lè)隊(duì)，很快他們讓Thayil也加盟了，并且取名為Soundgarden。Soundgarden是西雅圖的一座很受歡迎的雕塑。
　　鼓手Scott Sundquist加盟樂(lè)隊(duì)后，Soundgarden在太平洋西北海岸舉行了一系列巡演并且造就了一大批地下音樂(lè)圈內(nèi)的支持者。Soundgarden最能吸引這些樂(lè)迷的就是他們混合了ROCK、METAL及PUNK的獨(dú)一無(wú)二的音樂(lè)風(fēng)格。
　　1986年，Scott Sundquist離開(kāi)了樂(lè)隊(duì)，而Matt Cameron取而代之。Matt Cameron是我個(gè)人最喜歡的鼓手之一。他的鼓又穩(wěn)又狠并且變化多端，這在他們后期的作品中有充分的體現(xiàn)。次年，Soundgarden與Bruce Pavitt剛剛成立并無(wú)名氣的SUB POP簽約，并且發(fā)行了樂(lè)隊(duì)的第1支單曲“Hunted Down”。隨后Soundgarden又在SUB POP旗下發(fā)行了兩張EP——“Screaming Life”和“FOPP”。1988年，Soundgarden換了東家，這次他們與另外一個(gè)著名的獨(dú)立唱片公司SST簽了約，而且在年底發(fā)行了第一張專輯“Ultramega OK”。
　　隨后，樂(lè)隊(duì)開(kāi)始涉足主流，與著名的大唱片公司A&M簽約，并于1988年12月開(kāi)始著手錄制第二張專輯。1989年，專輯“Louder Than Love”發(fā)行了，并且在評(píng)論界收到了很好的效果以至獲得了“格萊美”獎(jiǎng)提名。很遺憾，樂(lè)隊(duì)的成功并沒(méi)有打消貝司手Hiro Yamamoto 返校讀書(shū)的念頭。由于還沒(méi)有完成巡演的計(jì)劃，Soundgarden剩下的成員迫切希望一名貝司手的加盟。Nirvana的前吉他手Jason Everman暫時(shí)頂替了這個(gè)位置。不久，Soundgarden樂(lè)隊(duì)的老友Ben Shepard的表現(xiàn)給他們留下了深刻的印象，但他對(duì)Soundgarden的作品比較生疏。雖然如此，Ben Shepard還是加入了樂(lè)隊(duì)，而Jason Everman也在巡演的末尾離開(kāi)了樂(lè)隊(duì)。
　　1991年，Soundgarden的第三張專輯“Badmotorfinger”出版了。這是一張霸氣十足的作品，有相當(dāng)濃重的金屬味道但又兼顧了GRUNGE的失真。這張專輯被評(píng)論界給予了很高的期望值。他們預(yù)測(cè)這將是一張極具爆發(fā)力和煽動(dòng)性的作品，Soundgarden也將成為代表著西雅圖搖滾火爆風(fēng)格的搖滾明星。但實(shí)際情況與預(yù)測(cè)并不完全吻合。Nirvana同年的專輯“Nevermind”出乎意料的成功，使“Badmotorfinger”被掩蓋在其之下。即使如此， 專輯“Badmotorfinger”的銷量仍然達(dá)白金，并且在唱片榜上取得了第39位的成績(jī)，也產(chǎn)生了像“Outshined”、“Slaves & Bulldezers”、“Room A Thousand Years Wide”和“Holl Water”這樣的火爆的搖滾歌曲。
　　隨后，Soundgarden被很多人當(dāng)作金屬樂(lè)隊(duì)看待，與Guns N'Roses、Monster Magnet、Skid Row等著名金屬樂(lè)隊(duì)一起巡演。他們?cè)?992年與Pearl Jam、Ministry、Red Hot Chili Peppers等樂(lè)隊(duì)一起參加了著名的LOLLAPALOOZA音樂(lè)節(jié)。另外，Soundgarden的成員主唱Chris Cornell和鼓手Matt Cameron與Pearl Jam的成員Jeff Ament、Stone Gossard、 Eddie Vedder一起組建了一支臨時(shí)樂(lè)隊(duì)“Temple Of The Dog”，目的是為了紀(jì)念已故的西雅圖樂(lè)隊(duì)“Mother Love Bone”的歌手Andrew Wood。這一系列事情也使Soundgarden在樂(lè)壇的知名度有所提高。
　　經(jīng)過(guò)短暫的調(diào)整后的1994年，Soundgarden推出了一張?jiān)谒麄円魳?lè)生涯中取得重大突破的專輯“Superunknown”。可以說(shuō)，Soundgarden憑借此專輯的發(fā)行，達(dá)到了其事業(yè)的頂峰。這張專輯也是Soundgarden所有作品中我最喜歡的一張。此專輯的旋律性更加突出，風(fēng)格更加多樣，演奏技巧更加精湛，當(dāng)然你依然可以從中感受到火爆的氣氛和王者的風(fēng)范。專輯中的歌曲首首精彩，真是值得收藏的佳作。Soundgarden憑借此專輯榮獲兩項(xiàng)“格萊美”獎(jiǎng)，1994年的搖滾樂(lè)壇毫無(wú)疑問(wèn)屬于Soundgarden。
　　經(jīng)過(guò)了一系列的巡回演出后，Soundgarden于1996年又發(fā)行了一張新專輯“Down On The Upside”。這張專輯在評(píng)論界的反響也不錯(cuò)，但是在銷量方面卻似乎有點(diǎn)讓人失望。比起他們以前的作品，新專輯“Down On The Upside”要溫柔許多，給人感覺(jué)比較低調(diào)。在90年代中后期，GRUNGE在整個(gè)搖滾樂(lè)壇有所降溫，Soundgarden新專輯的風(fēng)格也和這種氣氛吻合了。雖然如此，此專輯依舊繼承了他們另類、有個(gè)性的傳統(tǒng)，只是并不那么火爆。總地來(lái)看，Soundgarden仍然保持著相當(dāng)高的水準(zhǔn)。同年夏天，Soundgarden再次參加了LOLLAPALOOZA音樂(lè)節(jié)，并且在他們開(kāi)始宣傳新專輯的巡演前先與Metallica、Ramones一起舉行了巡演。
　　在媒體報(bào)道了關(guān)于樂(lè)隊(duì)內(nèi)部矛盾的內(nèi)容的不利情況下，Soundgarden繼續(xù)堅(jiān)持了巡演直到1997年4月7日。此時(shí)樂(lè)隊(duì)已無(wú)法保持為一個(gè)整體，在這種情況下他們中斷了巡演剩下的部分。不久樂(lè)隊(duì)正式宣布解散了。Kim Thayil和Ben Shepard經(jīng)常忙于各種事物，Matt Cameron經(jīng)常與西雅圖的另外一支著名樂(lè)隊(duì)Pearl Jam合作，而Chris Cornell則開(kāi)始了個(gè)人的發(fā)展。
Soundgarden made a place for heavy metal in alternative rock. Their fellow Seattle rockers Green River may have spearheaded the grunge sound, but they relied on noise rock in the vein of the Stooges. Similarly, Jane's Addiction were too fascinated with prog rock and performance art to appeal to a wide array of metal fans. Soundgarden, however, developed directly out of the grandiose blues-rock of Led Zeppelin and the sludgy, slow riffs of Black Sabbath. Which isn't to say they were a straight-ahead metal band. Soundgarden borrowed the D.I.Y. aesthetics of punk, melding their guitar-driven sound with an intelligence and ironic sense of humor that was indebted to the American underground of the mid-'80s. Furthermore, the band rarely limited itself to simple, pounding riffs, often making detours into psychedelia. But the group's key sonic signatures — the gutsy wail of vocalist Chris Cornell and the winding riffs of guitarist Kim Thayil — were what brought them out of the underground. Not only were they one of the first groups to record for the legendary Seattle indie Sub Pop, but they were the first grunge band to sign to a major label. In fact, most critics expected Soundgarden to be the band that broke down the doors for alternative rock, not Nirvana. However, the group didn't experience an across-the-boards success until 1994, when Superunknown became a number one hit.
For a band so heavily identified with the Seattle scene, its ironic that two of its founding members were from the Midwest. Kim Thayil (guitar), Hiro Yamamoto (bass), and Bruce Pavitt were all friends in Illinois who decided to head to Olympia, WA, to attend college after high school graduation in 1981. Though none of the three completed college, all of them became involved in the Washington underground music scene. Pavitt was the only one who didn't play — he founded a fanzine that later became the Sub Pop record label. Yamamoto played in several cover bands before forming a band in 1984 with his roommate Chris Cornell (vocals), a Seattle native who had previously played drums in several bands. Thayil soon joined the duo and the group named itself Soundgarden after a local Seattle sculpture. Scott Sundquist originally was the band's drummer, but he was replaced by Matt Cameron in 1986. Over the next two years, Soundgarden gradually built up a devoted cult following through their club performances.
Pavitt signed Soundgarden to his fledgling Sub Pop label in the summer of 1987, releasing the single "Hunted Down" before the EP Screaming Life appeared later in the year. Screaming Life and the group's second EP, 1988's FOPP, became underground hits and earned the attention of several major labels. The band decided to sign to SST instead of a major, releasing Ultramega OK by the end of 1988. Ultramega OK received strong reviews among alternative and metal publications, and the group decided to make the leap to a major for its next album, 1989's Louder Than Love. Released on A&M Records, Louder Than Love became a word-of-mouth hit, earning positive reviews from mainstream publications, peaking at 108 on the charts, and earning a Grammy nomination. Following the album's fall 1989 release, Yamamoto left the band to return to school. Jason Everman, a former guitarist for Nirvana, briefly played with the band before Ben Shepherd joined in early 1990.
Soundgarden's third album, 1991's Badmotorfinger, was heavily anticipated by many industry observers as a potential breakout hit. Though it was a significant hit, reaching number 39 on the album charts, its success was overshadowed by the surprise success of Nirvana's Nevermind, which was released the same month as Badmotorfinger. Prior to Nevermind, Soundgarden had been marketed by A&M as a metal band, and the group had agreed to support Guns n' Roses on the fall 1991 Lose Your Illusion tour. While the tour did help sales, Soundgarden benefited primarily from the grunge explosion, whose media attention helped turn the band into stars. The band was also helped by the Top Ten success of Temple of the Dog, a tribute to deceased Mother Love Bone singer Andrew Wood that Cornell and Cameron recorded with members of Pearl Jam. By the spring release of 1994's Superunknown, Soundgarden's following had grown considerably, which meant that the album debuted at number one upon its release. (A year before its release, Shepherd and Cameron released an eponymous album by their side project, Hater.) Superunknown became one of the most popular records of 1994, generating a genuine crossover hit with "Black Hole Sun," selling over three million copies and earning two Grammies. Soundgarden returned in 1996 with Down on the Upside, which entered the charts at number two. Despite the record's strong initial sales, it failed to generate a big hit, and was hurt by grunge's fading popularity. Soundgarden retained a sizable audience — the album did go platinum, and they were co-headliners on the sixth Lollapalooza — but they didn't replicate the blockbuster success of Superunknown. After completing an American tour following Lollapalooza that was plagued by rumors of internal fighting, Soundgarden announced that they were breaking up on April 9, 1997, to pursue other interests.