supersoul

And let's be honest, Everett True was a journalist from Melody Maker who had been paid by Pavitt/Ponemann and brought to Seattle to write a piece about the SubPop scene to promote it in Europe. He had already been in Australia using the term grunge for the bands from the Adelaide scene, such as Exploding with Mice and Cosmic Psychos... the mustachioed guy from Baltimore is always right, even when interviewed by L'Espresso!

Speaking of home-recorded albums, the 1973 album by Mirkwood, recorded at guitarist Jack Castle's home, has just been reissued on CD (after 35 years of waiting!). It’s an incredible record from a quintet featuring two guitars, vocals, bass, and drums. There’s a piece with beautiful harmonies lasting 11 minutes, "Loves Glass of Sunshine," which cleverly borrows the guitar solo from "Child in Time" by Deep Purple, who in turn had borrowed it from It's a Beautiful Day. Treat yourself to a great gift Record Shop Kent and World Artists On-line

As Trapattoni would say, I completely agree halfway with donjunio. Jack Endino wasn't exactly a producer for Sub Pop, but rather a sort of freelancer who had Reciprocal Recording in Seattle, in addition to playing with Skin Yard. All the local bands would go to him to record; he was practically recording the bands that later found success with Sub Pop before Pavitt and Ponemann realized they could make some money by starting the label, such as Green River or Tad who played with the Eight Shower. So it’s not like all the bands produced by Endino were playing this infamous grunge; take for example Babes in Toyland or Helios Creed. I would say we should leave these journalist definitions behind and listen with our ears. This is something the young reviewer did, which is why in 2008 he rightly asks what the hell the garage-rock Mudhoney has to do (musically) with what the media pumped up under the name grunge: those two albums from 1991 by Pearl Jam and Nirvana (which weren’t produced by Endino and weren’t with Sub Pop) that became symbols of the so-called Generation X. Meanwhile, someone else, indoctrinated more by the media than by their ears, gives a score of 1 to the review and stops as soon as they read the "bullshit" that Mudhoney doesn’t sound grunge.

Congratulations on the mapping of blacchedog quotes, but Bobby Emmons was an organist and not a pianist.

Grunge was invented by journalists (the ones Uncle Frankie referred to as people who can't write interviewing people who can't talk for people who can't read) to sell books to people like you, denvernuggets.

Before talking nonsense, I'll respond to you at the risk of getting the ugly biorky all wet. Maybe the book is useful for you since you didn't experience that era; I, in those years, had eyes to see and ears to hear, and I can tell you that the Stooge-ian Mudhoney has nothing to do (and disgusted) with the Led Zeppelin-ian Soundgarden. The Beatles-esque (yes, that's right) Cobain despised everyone else, saying that he played hard music at moderate tempos and that he had nothing to share with the other Sub Pop bands; in fact, in 1989, he had nothing to share with the rest of humanity and had no interest in saving (as is usually said) other people with his music simply because they don't deserve it.

The closing of comment no. 50, in my humble opinion, I find disconcerting. There was another great film that used metaphor to express the nausea for a certain type of ambiguous power exercised by exploiting evil in the name of good, and that was "Todo Modo" by Elio Petri. And it is a film of such disturbing charm that it remains immortal throughout time. I think this is the greatest compliment for a director.

This discussion about grunge we’ve already had in some other reviews. When Mudhoney, Ultramega OK, and even Nirvana's Bleach came out (and for at least three years after), no one talked about grunge or a movement, but rather this kind of "modern hard rock" that the Sub Pop bands were making (except for the Walkabouts). This sort of trend linked to Seattle emerged in 1992 after the interplanetary success among teenagers and others of Ten by Pearl Jam and Nevermind by Nirvana. And if you remember, there’s Cameron Crowe’s movie (Singles) which is a bit of the apotheosis of grunge, featuring Pearl Jam and Soundgarden themselves.

just think that the same Mark Arm was a big admirer of Halo of Flies, who were very well known in the underground scene in America while underrated here. And do you know who owned Amphetamine Records? It was actually the singer of Halo...

But it is also true that Mudhoney have always been somewhat sidelined compared to that standardized current of Seattle bands. For example, I don’t see them in the same melting pot where Pearl Jam, for instance, swims.