Soundgarden Quotes
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Interview with Team Rock Magazine, Summer 1996.
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'Spoonman' wasn't written for any album. It was just written for fun.
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I love the way Pharell is laying down great drum tracks. He is a great drummer.
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What's important is to get into shape and then not to have to worry about it. I don't want to get on stage and not being able to do something. Not being physically fit doesn't work for me.
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Being a rock star is really a 24-hour-a-day job, and you really can't escape it.
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When I started writing songs for Temple of the Dog, I went to my room with my acoustic guitar, and I was happy staying in that mode. It was more chordal based and more lyric driven. I enjoyed not making riff-based songs built around a guitar idea.
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It's great when you play to an audience that knows the words to all your songs, and sings them back to you.
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I used to hate playing Seattle shows.
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I've seen a lot of Pearl Jam shows, and the only reaction I've ever seen is the audience being completely supportive and loving every moment.
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To a degree, rock fans like to live vicariously and they like that, music fans in general, but when indie music sort of came into prominence in the early '90s, a lot of it was TV-driven, too, where if you saw the first Nirvana video, you're looking at three guys that look like people you go to school with.
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Team Rock: Away from the band Soundgarden, do you guys still hang out together?
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They're a great audience, kids. They actually respond. They don't have the references that adults have, so everything is immediate. It's always interesting to see what they react to in whatever I'm working on at the moment. And they don't even want to discuss why. That's a lesson to remember: My son doesn't care about why.
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When Soundgarden formed, we were post-punk - pretty quirky.
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I felt very proud to be part of a music scene that was changing the face of commercial music and rock music internationally, but I also felt like it was necessary for Soundgarden - as it was for all of these Seattle bands - to prove that we deserve to be on an international stage, and we weren't just part of a fad that was based on geography.
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I would look at older blues musicians who just keep going into their seventies. They keep doing it until they drop dead. And I've always felt like that's what I want to do. I've felt that since the day I was able to start playing music for a living. I don't see the point of thinking about retiring because it's not work to begin with.
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Music is supposed to be inspired.
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I used to work in jobs I hated because I needed the money to buy a guitar. I know what it feels like to be depressed. On the other hand, I also know what it feels like to have money, to be successful, to be independent, but I can tell you that money and success never solve your problems.
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Seattle very much benefited from this geography where it was a town nobody had really heard of in terms of a music scene. So we had that factor of being a new discovery.
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It's about trying to step out of being patterned and closed off and reclusive, which I've always had a problem with. It's about attempting to be normal and just go out and be around other people and hang out. I have a tendency to sometimes be pretty closed off and not see people for long periods of time and not call anyone.
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Audioslave was something that I felt had become a career decision. It became three albums over a period of years touring with a specific group of people.
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One of the Robinson brothers from the Black Crowes turned me on to Nick Drake.
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We're happy with what we've achieved. Every record we've made has furthered the growth of our line of success. It's never disappeared or gone backward: each record sells more, each tour is bigger.
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Not really. I don't even have enough time to pursue everything I want to do musically. Also, there's a lot of people out there who spend a lot of time trying to act, so I think most of the good acting jobs should be reserved for those people.
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An acoustic show is all about you, and any little nuance or mistake is amplified.