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}} ''Down on the Upside'' is the fifth studio album by the American rock band Soundgarden, released on May 21, 1996 through A&M Records. It is the band's third album with bassist Ben Shepherd. Following a worldwide tour in support of its previous album, ''Superunknown'' (1994), Soundgarden commenced work on a new album. The music on the album was notably less heavy than the group's preceding albums and featured the band experimenting with other sounds. The album topped the New Zealand and Australian charts and debuted at number two on the United States' ''Billboard'' 200, selling 200,000 copies in its opening week and spawning the singles "Pretty Noose", "Burden in My Hand", "Blow Up the Outside World", and "Ty Cobb". The band took a slot on the 1996 Lollapalooza tour and afterward supported the album with a worldwide tour. ''Down on the Upside'' would end up becoming Soundgarden's final studio album for sixteen years as tensions within the band led to its break-up in April 1997. The album has been certified 2x platinum by the RIAA in the United States. The album's title comes from lyrics in the fourth track "Dusty." == Recording == The album's recording sessions took place from November 1995 to February 1996 at Studio Litho and Bad Animals Studio in Seattle, Washington. Studio Litho is owned by Pearl Jam guitarist Stone Gossard.〔"Black Hole Sons!". ''Kerrang!''. August 12, 1995.〕 The band members made the decision to produce the album themselves. On the choice of not working with a producer, frontman Chris Cornell said that "a fifth guy is too many cooks and convolutes everything. It has to go down too many mental roads, which dilutes it."〔Blush, Steven. "Soundgarden". ''Seconds''. 1996.〕 Adam Kasper, who previously had worked with Soundgarden as an assistant engineer on ''Superunknown'',〔Warden, Steve. "A Degree of Intensity". ''Access''. June 1996.〕 worked with the band as a production collaborator.〔Cross, Charles R. "The Joys of Noise: Soundgarden Throw a High-Frequency Sludgefest". ''Rolling Stone''. February 8, 1996.〕 The album was mixed by Kasper. Work on the album began in July 1995.〔"Soundgarden Man in Near Death Drama". ''Kerrang!''. March 16, 1996.〕 The band took a break to perform at festivals in Europe, where new material was road-tested.〔Atkinson, Peter. "Soundgarden: From Superunknown to Superstars". ''Jam''. May 24, 1996.〕 Afterward, the band did more songwriting for about a month and then recorded most of the album at Studio Litho.〔 The overall approach to songwriting was less collaborative than with past efforts, with the individual band members having brought in most of the songs more completely written.〔Zogbi, Marina. "Upshot on "The Upside" from Kim Thayil". ''Metal Edge''. August 1996.〕 The band sought to try things it had not done before and to use a greater variety of material.〔"Down on the Upside". ''The Buzz Word''. August 1996〕 The band tried to create a live atmosphere for the album,〔Appleford, Steve. "Soundgarden". ''Ray Gun''. June 1996.〕 and looked to leave in sounds that producers would normally try to clean up, such as feedback and out-of-tune guitar parts.〔"Soundgarden's New Video Causes Controversy". ''Toronto Sun''. May 10, 1996.〕 The overall time spent working on the album was less than what the band had spent working on ''Superunknown''.〔"Soundgarden". ''Hard Music''. June 1996.〕 Cornell described the album-making process as "way faster and way easier".〔 Most of the material was written by Cornell and bassist Ben Shepherd, the latter having already worked on six of the sixteen album tracks. Reportedly, tensions within the group arose during the recording sessions, with guitarist Kim Thayil and Cornell allegedly clashing over Cornell's desire to shift away from the heavy guitar riffing that had become the band's trademark.〔Colopino, John. "Soundgarden Split". ''Rolling Stone''. May 29, 1997.〕 Thayil's only contribution to the album was the song "Never the Machine Forever", for which he wrote both the lyrics and the music, and which was also the last song the band recorded.〔Turman, Katherine. "Soundgarden: Seattle's Sonic Boom". ''Metal Edge''. July 1996.〕 The song initially came out of a jam session Thayil had with Seattle musician Greg Gilmore.〔Maloof, Rich. "Kim Thayil of Soundgarden: Down on the Upbeat". ''Guitar Magazine''. July 1996.〕 In the liner notes, Thayil credits Gilmore for inspiring the song. He stated that he had a lot of incomplete music ideas that were missing lyrics and were not arranged, so they did not make the album.〔 Thayil said, "It can be a little bit discouraging if there isn't satisfactory creative input, but on the other hand, I write all the solo bits and don't really have limitations on the parts I come up with for guitar."〔 Cornell said, "By the time we were finished, it felt like it had been kind of hard, like it was a long, hard haul. But there was stuff we were discovering."〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Down on the Upside」の詳細全文を読む スポンサード リンク
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