Soundgarden – Superunknown
Label: |
A&M Records – 540 215-1 |
---|---|
Format: |
|
Country: |
Brazil |
Released: |
|
Genre: |
Rock |
Style: |
Grunge |
Tracklist
A1 | Let Me Drown | 3:51 | |
A2 | My Wave | 5:12 | |
A3 | Fell On Black Days | 4:42 | |
A4 | Mailman | 4:25 | |
B1 | Superunknown | 5:06 | |
B2 | Head Down | 6:08 | |
B3 | Black Hole Sun | 5:18 | |
C1 | Spoonman | 4:06 | |
C2 | Limo Wreck | 5:47 | |
C3 | The Day I Tried To Live | 5:19 | |
C4 | Kickstand | 1:34 | |
D1 | Fresh Tendrils | 4:16 | |
D2 | 4th Of July | 5:08 | |
D3 | Half | 2:14 | |
D4 | Like Suicide | 7:01 | |
D5 | She Likes Surprises | 3:16 |
Companies, etc.
- Mixed At – Bad Animals
- Engineered At – Bad Animals
- Mixed At – Electric Lady Studios
- Recorded At – Bear Creek Studios
- Mixed At – A&M Studios
- Published By – You Make Me Sick I Make Music
- Published By – In One Ear And Out Your Mother Music
- Published By – Walpurgis Night Music
- Published By – Stupidditties
- Mastered At – A&M Mastering Studios
- Manufactured By – BMG Ariola Discos Ltda. Divisão Sonopress
- Distributed By – Fonobrás, Distribuidora Fonográfica Brasileira Ltda.
- Licensed From – Polygram do Brasil Ltda.
- Phonographic Copyright ℗ – A&M Records, Inc.
- Copyright © – A&M Records, Inc.
Credits
- Cover [Front Design] – Kelk
- Engineer [Assisted By At Bad Animals] – Adam Kasper
- Engineer [At Bad Animals] – Jason Corsaro
- Layout – Reyzart
- Mastered By – Dave Collins
- Mixed By [Assisted By At Bad Animals] – Adam Kasper
- Mixed By [At A&M Studios] – Alex Reed (tracks: D5)
- Mixed By [At Bad Animal] – Brendan O'Brien
- Mixed By [At Electric Lady] – Michael Beinhorn (tracks: D2)
- Photography – Kevin Westenberg
- Producer – Soundgarden
- Recorded By [Assisted By At Bear Creek] – Joe Hadlock (tracks: D5)
Notes
℗ 1994 Made in Brazil.
Recorded and Mixed at Bad Animals Studio, Seattle, WA; Mastered at A&M Mastering Studios, Hollywood, CA.
*Single sleeve, with no insert.
Recorded and Mixed at Bad Animals Studio, Seattle, WA; Mastered at A&M Mastering Studios, Hollywood, CA.
*Single sleeve, with no insert.
Barcode and Other Identifiers
- Barcode: 7 31454 02151 7
- Other (Catalog #, Disc 1): 540 220-1
- Other (Catalog #, Disc 2): 540 221-1
- Matrix / Runout (Variant 1: Side A stamped): 540220_1_A 1 S T A T BMG
- Matrix / Runout (Variant 1: Side B stamped): 540220_1_B 1 S T D A2 BMG
- Matrix / Runout (Variant 1: Side C stamped): 540221_1_A 1 S T A T BMG
- Matrix / Runout (Variant 1: Side D stamped): 540221_1_D 1 S T A T BMG
- Matrix / Runout (Variant 2: Side A stamped): 540220_1_A · 1STDA1 BMG
- Matrix / Runout (Variant 2: Side B stamped): 540220_1_B · 1STDA2 BMG
- Matrix / Runout (Variant 2: Side C stamped): 540221_1_A · 1STA1 BMG
- Matrix / Runout (Variant 2: Side D stamped): 540221_1_B · 1STA1 BMG
- Rights Society: ASCAP
Other Versions (5 of 180)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
Superunknown (CD, Album, Stereo) | A&M Records | 31454 0198 2, 31454 0198-2 | US | 1994 | |||
Superunknown (2×LP, Album, Limited Edition, Clear) | A&M Records | 540 215-1 | Europe | 1994 | |||
Superunknown (CD, Album, Club Edition) | A&M Records | CD 500198, 31454-0198-2 | Canada | 1994 | |||
Recently Edited
|
Superunknown (Cassette, Album) | A&M Records | 540 215-4 | Europe | 1994 | ||
Recently Edited
|
Superunknown (Cassette, Album, ooooooo, 35, Chrome, Dolby System) | A&M Records | 31454 0198 4, 31454 0198-4 | US | 1994 |
Recommendations
Reviews
-
Edited 13 days agoThis is probably my favourite album of all time. Owned this on multiple CDs (including original one which I still have), US original vinyl pressing, the 2014 vinyl reissue and now I own this. Unfortunately, don’t have the 320 cut.
I have a decent stereo system with Technics SL-D202 turntable and ATVM95ML (microline) stylus. Definitely modest so take my comments with a grain of salt.
1994 Original Brazilian Pressing:
This is actually my second time owning this Brazilian press (believe it or not this album is way too special for me). The first time I got it, it was a bit noisy but nothing bothersome. The record sounded a bit quiet (cut at a low volume) but once turned up it sounded good. However, I always felt like there was a “blanket on my speakers.” I assumed the record was worn out and got a second copy.
My second copy is NM. Oddly quiet and flat discs. This one sounded better than the first copy but had the similar sonic profile (after all they are cut from the same master).
It sounds dynamic but as another reviewer has mentioned, it sounds “relaxed.” I am no certified audio engineer but I am a musician and when I record music, I pay a lot of attention to the 4 kHz to 6 kHz frequency range as this is where the song’s/instrument’s presence (clarity and definition) lies. I feel like this pressing’s relaxed presentation is due to the odd EQ’ing in this frequency range. This is why the vocals sometimes get buried and the guitar lacks “bite” and the drum loses some air around it.
There is no question it is the most dynamic version of this album I have heard. However, without good presence, it doesn’t work for me that well.
1994 US Original:
Hot garbage. Bought it and sold it immediately. My original CD sounds much better. It was a harshness overload experience.
2014 Vinyl Reissue:
Every time I look at this reissue, I get sad. What a wonderful opportunity to finally remaster this album, yet they decided to compress it, bloat the low end and tip the high frequencies (i.e smiley face EQ).
Oddly though, I would not consider the Brazilian pressing a huge upgrade from the 2014 reissue. They both have their pros/cons - if dynamics with less definition works for you, get this. In most formats/previous reissues (minus the 320 cut which I have never heard) the record is so compressed that the dynamic range on this Brazilian press is a breath of fresh air to my ears.
If you are tight on budget/hoping for a major upgrade, I wouldn’t pay the on this record. If I am honest, the Down On The Upside reissue (Optimal Pressing) and the 320 cut of Botorfinger smokes both the 2014 reissue and this Brazilian version of Superunknown (but of course I am now comparing oranges to apples).
I have no regrets getting this as this album has defined me as a musician and Michael Beinhorn’s production approach is a guiding light for me when I work in the studio (check his interviews where he describes how he produced the album).
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This pressing KILLS the european original! So much more pleasant to listen to. Vinyl is a little noisy but you only notice it in between tracks on a clean copy. Would love to find a copy of the 320 pressing, but until then I am perfectly happy with this one.
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Lucked into a VG+ copy that sounds (mostly) NM. Ya, this has to be analog. There isn’t a trace of digititis that I can hear. Great separation and as mentioned below, not a hint of harshness. But this is quite a bit better than the cd I bought new in ‘94 . From memory because it’s (my cd) currently in a box but I have listened to a zillion times. Maybe someday I will dig it out to compare B2B.
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Sounds more slightly more analog and dynamic than my 1994 CD, but overall the sound is quite similar. The difference isn't worth the price for me.
Although it is more analog sounding, at times this vinyl sounds a bit too relaxed, while the CD sounds a bit harsh. -
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Edited 7 years agoThe only reason I gave this a four is the noisy vinyl. My copy looks pretty clean and I even gave it the ultrasonic treatment but still it's not as clean as it should be. It honestly sounds to be cut from a tape because there are portions of the vocals that don't sound like the cd and have a little more depth and life, even different dimensions at times. The low end is respectable and the top end isn't overly harsh. It's just a shame the vinyl formula itself isn't as good as it could be. I've even been told by people from Brazil that the vinyl quality there can vary quite alot. Otherwise it's not a bad cut at all and a different experience than the cd. It's actually cut a little quiet so give it some volume to open it up.
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