The focus on the Seattle grunge scene helped bring attention to Badmotorfinger, and the singles "Outshined" and "Rusty Cage" found a major audience in rock radio and MTV. Badmotorfinger became the band's highest charting album at the time on the Billboard 200, where it peaked at number 39. The album received critical acclaim, citing the significant improvements over earlier releases and evolution in the band's sound.
The band kept in touch with producer Terry Date—who had worked on their previous record—due to their positive working relationship and a desire to avoid the pressure of finding a new producer. Additionally, Ben Shepherd's arrival breathed new life into the band, complementing the group's existing musical expertise.
The album showcases a melting pot of sounds—ranging from grunge and alternative metal to heavy metal and hard rock—making it both interesting and cohesive. Furthermore, the songs adopted a more commercial approach, making them viable for radio promotion; in the words of Kim Thayill, the album was "fast and weird," thanks to the contributions Shepherd brought to the mix.
One of the most emblematic tracks was "Rusty Cage," particularly due to the sound of a wah-wah pedal and an audio filter used by Thayil; the riff is both beautiful and strange, utilizing alternative tunings—a formula repeated on "Holy Water" and "Searching With My Good Eye Closed" (tuned to E), as well as "Mind Riot"—which brought a fresh dimension to their sound.
The lyrics also lent themselves to this approach, with Cornell addressing subjects ranging from the personal to society, government, the economy, and similar themes. The over-exploitation of the figure of Jesus is exposed in "Jesus Christ Pose"; "Outshined" discussed periods of extreme self-confidence and how that can backfire; and "New Damage" offered a critique of the American Right. Regarding the title, Kim Thayil says it was a play on a Montrose song called "Bad Motor Scooter"—that was the inspiration. They included it because it sounded aggressive, and it served the band well.
Although the album was overshadowed by the unexpected fame of "Nevermind", it succeeded in garnering support for the band and selling millions of copies at the time; furthermore, it helped popularize alternative rock and brought the grunge style and sound into the mainstream.
Badmotorofinger Track List:
Britpop band Sleeper have announced a new album, End of the World, and shared its first single, title track "End of the World." The new album is due out February 12, 2027 via the band's own label, Gorsky Records. The band features Louise Wener (vocals, rhythm guitar), Jon Stewart (lead guitar), Andy Maclure (drums), and Kieron Pepper (bass guitar). Wener says it's the most personal Sleeper album. "It's a very different record for me," she says in a press release. "I'm Gen X, we tend not to confront our emotions or display them easily to the outside world. There’s strength in that, but also solitude. I got to the point where I felt I was dissolving. Like if I didn’t put my discomfort somewhere, I’d cease to exist." Of the title track, Wener says: "It's a song about breaking free. The moment you turn round and say: Enough. I’m done. Whoever is hurting you—a partner, a family member, a way of life that no longer fits—leaving may feel like your world is ending. It might also be the most liberating thing you can do."
A family spokesman said on Tuesday that Saint had died of natural causes at her home in Los Angeles.
Another defining role arrived in 1959 when Alfred Hitchcock cast her opposite Cary Grant in "North by Northwest." As the elegant and enigmatic Eve Kendall, Saint showed a dramatically different side of her screen persona and became part of one of Hitchcock’s most enduring thrillers. Her career continued with appearances in films including "Exodus," "Grand Prix," "The Russians Are Coming, the Russians Are Coming" and "The Stalking Moon."
Saint never allowed the demands of Hollywood to completely dictate her life. At a time when successful performers were often expected to capitalize relentlessly on their fame, she was willing to turn down opportunities and make room for her family.
Besides Movies; Television became another important part of her career. She appeared in numerous productions over the decades, including a recurring role on "Moonlighting," and won an Emmy for her performance in the 1990 miniseries "People Like Us."
Later generations of moviegoers also had opportunities to discover her. Saint appeared in "Because of Winn-Dixie" and played Martha Kent, Superman's adoptive mother, in the 2006 film "Superman Returns." She returned to the big screen again in 2014's "Winter's Tale."
Born in 1924 in New Jersey to a Quaker family, Saint had an early career as a jobbing radio and TV performer that was chronicled in a 1949 feature in Life magazine which started with the prophetic words: "The name of Eva Marie Saint may someday be a household word" – it followed her struggles to gain a foothold in the entertainment industry. By the early 50s she was making some headway, appearing in 1953 in both the original telecast and the premiere Broadway production of the Horton Foote play The Trip to Bountiful.
Saint was also part of a generation that witnessed Hollywood transform around her. She moved from the era of live television and black-and-white classics into modern studio filmmaking without losing the understated quality that had made her performances distinctive in the first place.
Her marriage to television director Jeffrey Hayden lasted more than six decades, until his death in 2016. With Saint's death, Hollywood loses one of its remaining direct connections to a landmark period in American cinema.
For an actress who never appeared particularly interested in chasing the machinery of superstardom, Eva Marie Saint achieved something considerably more durable: a place in movie history.
Boy Harsher released their latest album "Get Mean" the record arrives at a particularly personal crossroads for Jae Matthews and Augustus Muller, following the collapse of their romantic relationship. But Rather than shying away from the complicated emotions that come with such a significant ending. "Get Mean" explores redemption, grief, heartbreak and the painful process of finding a way to heal, let go and begin again. The sound is more potent, dark electronic rhythms meet Matthews’ breathy vocals, creating something dreamy, ethereal and wonderfully gothic. An alt-disco-pop landscape where melancholy and movement can happily occupy the same dancefloor. Their new single "Faulty" is a personal favourite for Matthews, explaining that she actually wrote it around two years ago while staying near Astoria, beside the cold Pacific Ocean. For the visual, she wanted to revisit the same room and scope of their previous Calvin Klein advertisement tribute, this time adding dancing: “Alone + alone together”. Directed by Boy Harsher with Owen Smith Clark, the video places people together in one dark, moody room. They are captured swaying and dancing almost as though caught somewhere between connection and isolation.
The album marked the debut of bassist Justin Chancellor. Another interesting detail is the title "Ænima" itself; it was a combination of the Latin word "anima" (soul/spirit) and "enema"—a medical procedure involving the injection of fluids into the body via the rectum. That alone signals that the listener is in for something interesting—and indeed, they were.
Another notable feature of the album is that several tracks are merely short pieces or interludes connecting longer songs; this pushed the total runtime to 80 minutes, stretching the limits of CD capacity. These short tracks and interludes were: "Useful Idiot," "Message to Harry Manback," "Intermission," "Die Eier von Satan," "Cesaro Summability," and finally, "(-) Ions."
The album's themes ranged widely—covering topics such as magic rituals, religious fundamentalism, Egyptian mythology, the seven-pointed star, and "deterrent anesthesia," among others—and included a dedication to comedian Bill Hicks. To touch briefly on specific tracks: the opener, "Stinkfist," immediately sparked censorship issues—MTV, for instance, renamed it "Track #1." This was likely due to the sexual connotations of "fisting" (inserting a fist into a bodily orifice), though the band intended it as a metaphor attacking the over-stimulation to which society was subjected at the time—let alone today.
Then there was "Eulogy," a diatribe directed at Jesus; "H," which held dual meanings—referencing an overdose Keenan experienced, though it is also said he wrote it for his son; and "Forty Six & 2," which alluded to the number of chromosomes humans are expected to possess in their next evolutionary stage. Humans currently have 46 (44+2), having evolved from a baseline of 44 (42+2); the next step in evolution would result in the total referenced in the song's title. "Message To Harry Manback" stems from a voicemail Maynard received from a roommate; it was based on a bizarre story about an Italian guy staying in their shared room—you know, the typical deadbeat who ate all the food and ran up the phone bill. They eventually realized no one actually knew him, so they kicked him out, tossing his belongings—and him—onto the street. The next day, he called back in a rage, leaving the insulting message that serves as the track's audio.
"Hooker With A Penis" addressed an angry fan who accused the band of selling out; Maynard—who apparently used to do cocaine with this guy—explained the realities of the music market and why they made those choices. "Jimmy" dealed with Maynard's childhood in Ohio. "Die Eier Von Satan" was another oddity; it was actually a recipe for Turkish hashish cookies—made without eggs, contrary to what many people think. "Pushit" explored the concepts of temptation and the compulsion to do something one shouldn't; it revolves around the pull of temptation and the act of falling into the abyss. As the fall occurs, the song becomes heavier and more abrasive, until—once the descent is complete—Maynard whispers, "I'm somewhere I don't want to be.
" Finally, "Cesaro Summability" referred to an equation that yields an answer of infinity. And the final final three tracks: "Ænima," the album's title track, dealed with the purification of the soul; "(-) Ions," was a piece about devices that generate ions—atoms with an electric charge—where listening with headphones allowed one to feel the ions moving from one side of the brain to the other; and finally, "Third Eye," which featureed excerpts of Bill Hicks from his drug-experimentation phase. Hicks explored his darker side, and his discourse complements to Timothy Leary—the prophet of LSD—suggesting that these drugs facilitate a deeper exploration of the human being. There was also the concept of the "third eye," representing maximum stimulation of the pineal gland located in the brain; it consists of two divisions made up of 48 petals each, totaling 96—it is said that this cent.
Ænima Track List:
The album was compiled by Krist Novoselic, who also wrote the liner notes. Originally, Novoselic and Grohl had planned to release a live album in 1994 alongside the "MTV Unplugged in New York" as a double set titled "Verse Chorus Verse"; however, they faced certain issues while the material was compiled, therefore it was never mixed.
The album featured various tracks in different versions. The title refers to the Wishkah River in Aberdeen, Washington. It was said that Cobain used to spend nights sleeping there—a claim he alluded to in the song "Something in the Way"—but Novoselic later debunked this, stating that sleeping there was impossible; he might have wandered the area, but nothing more.
Curiosly, the album omits all the songs that appeared on the band's "MTV Unplugged" special—with the exception of "Polly," which appeared here in a rare 1989 version featuring electric guitars. It also avoids versions of songs previously released as B-sides or on the "Live! Tonight! Sold Out!!" video (a compilation assembled by Kurt Cobain himself and released in unfinished form in November 1994).
Among the rarities and curiosities offered by this live compilation, three tracks stand out from the band's highly acclaimed December 3, 1989, show at the London Astoria—a performance widely praised by the British press at the time. One of these was "Imodium" (an early version of "Breed" featuring different lyrics and Chad Channing on drums). The track "Negative Creep" comes from the band's October 1991 show at Seattle's Paramount Theatre—a performance later released on DVD in 2011 as "Live at the Paramount".
Four other tracks were taken from the legendary November 24, 1991, show at the Paradiso in the Netherlands; three come from the now-legendary mini-tour the band undertook with the Red Hot Chili Peppers and Pearl Jam in late December 1991; and "Tourette's" appears, taken from the band's 1992 Reading Festival performance. The track "Scentless Apprentice" was from the December 13, 1993, MTV show at Seattle's Pier 48.
Capitalizing on the band's immense popularity at the time, several promotional (non-commercial) singles were released, such as "Aneurysm" (for the US and UK), "Drain You" (US), and "Lithium" (Portugal and the Netherlands). While "Smells Like Teen Spirit" was the single for France, Portugal, and Spain, Australia saw the promotion of a small box set containing promotional singles such as "Aneurysm," "Heart-Shaped Box," and "Polly."
The album sleeve, created by Peter Saville, is a photograph of a sheet of titanium–zinc alloy. Some early releases came in a metallic sleeve.
As for the album's sound, it explored post-punk and electronica blended with rock and disco, creating a vibe that bordered on the schizophrenic: synthesizers dominated one side of the spectrum while the other was given over entirely to guitars—a contrast evident throughout the record. There was the sonic frenzy of "Every Little Counts," while "All Day Long" revealed the curious influence of Richard Wagner (a track the band would later use to open their concerts).
The flawless "Bizarre Love Triangle" was the main a gem—a synth-pop classic—though, interestingly, the song failed to crack the Top 40 in either the UK or the US despite its outstanding quality. Its music video, directed by Robert Longo, enjoyed heavy rotation on MTV and remains a cult classic in every sense.
Then there was "State of the Nation," clearly a protest song, and the playful "Every Little Counts." The album received generally favorable reviews for the sound they achieved, although some critics felt it offered nothing new regarding the band's sonic identity. Yet, one could argue that with this record, the band was attempting to shed the "Joy Division" label, aiming to prove that their sound was uniquely New Order—and they succeeded. It was a blend of sonic beauty and complex creativity, grappling with everything around them—including their own past. That is precisely where the album's achievement lies: in championing a sound that was more pop-oriented and accessible than their earlier, darker musical offerings.
The collection included a cover of Johnny O'Keefe's "Wild One" (here titled "Real Wild Child (Wild One)" and three original songs co-written with ex-Sex Pistols guitarist Steve Jones. The remaining tracks were co-written by Bowie, who also produced the album with David Richards but, unlike his previous work with Pop, The Idiot and Lust for Life (both 1977), did not play any instruments, although he did contribute with backing vocals. Bowie biographer David Buckley has reported that Pop "virtually disowned" the record, calling it "a Bowie album in all but name". It has never been specified what tracks on the album, if any, originated during the sessions of Bowie's 1984 album Tonight (that album's co-producer, Hugh Padgham, has recalled that Bowie and Pop collaborated on some songs that Bowie ultimately rejected for inclusion on Tonight).
In 1990, Pop credited Bowie for [setting] up a good framework for me to tell my story in a way that people could hear. It got on the radio. At times we got a little too meticulous in the studio. But 'Shades,' 'Winners and Losers,' 'Cry for Love' and 'Wild Child' sum up my story at the time
It was the album that brought Iggy Pop back from a four-year recording hiatus and produced his first major mainstream hit in years, Real Wild Child (Wild One). The 1986 A&M Records release reunited Pop with David Bowie, who produced the album alongside David Richards and co-wrote most of the material. It was the final album collaboration between the two musicians.
Recorded at Mountain Studios in Montreux, Switzerland, in May 1986, Blah-Blah-Blah represented a significant change in sound for the artist. The abrasive art rock associated with his earlier work with Bowie on The Idiot and Lust for Life in 1977 gave way to synthesizers, programmed percussion, dance-rock textures and a more polished 1980s production style, but definitely this was far beyond a more commercial shift and eventually became Pop's most commercially successful album, reaching No. 75 on the Billboard 200 in the United States.
It was a fantastic moment for Iggy Pop, and the single "Real Wild Child (Wild One)", Pop’s adaptation of Johnny O'Keefe's Australian rock and roll classic Wild One. The song became Pop's first UK Top 10 hit and reached No. 27 on the Billboard Mainstream Rock chart.
Bowie's role on "Blah-Blah-Blah" was substantial but different from the partnership heard on The Idiot and Lust for Life. He co-wrote the bulk of the album with Pop, produced and mixed the sessions with David Richards, and supplied backing vocals, but did not play instruments on the record. The other significant songwriting partnership came from former Sex Pistols guitarist Steve Jones. Jones co-wrote Fire Girl, Cry for Love and Winners & Losers with Pop, with Jones also providing the guitar solo on Cry for Love.
The album also occupied an unusual position in Pop's catalogue because it sits between two very different phases of his career. His previous studio album, 1982’s Zombie Birdhouse, was followed by a four-year gap. Two years after Blah-Blah-Blah, Pop moved in a heavier direction with 1988's Instinct. Forty years later, Blah-Blah-Blah remains the record that connected Iggy Pop's uncompromising past with his mainstream breakthrough, while closing the final studio chapter of one of rock most consequential creative partnerships.
Recording sessions for The Pacific Age were fraught with conflict and debauchery. It would be the last OMD studio album for five years, and the last to feature co-founder Paul Humphreys until 2010's History of Modern. The record is held in low esteem by OMD, with frontman Andy McCluskey calling it the band's "musical nadir".
Despite the album's title, the recording process was anything but peaceful; the band faced immense pressure from their label, yet they poured themselves fully into the project. Curiously, they faced a backlash from the British press—a stark contrast to their reception across the Atlantic, where they were well-received and scored a Top 20 hit with the single "Forever (Live and Die)." It was a grueling, conflict-ridden endeavor; in fact, the band would not record again for five years, and co-founder Paul Humphreys eventually left the group.
Musically, the album showcased the band's experimental side while still crafting pop tracks designed to appeal to US radio. Despite the label's pressure for a quick release—leaving them only two months to write the material—they managed to compose the first nine songs during that window. They also included an older track, "Southern," which featured a sample from Martin Luther King Jr.'s final speech and had failed to make the cut on the previous album.
They did everything possible to satisfy the label, even as they ran out of ideas and songs; exhaustion and infighting took their toll, and problems with drugs and alcohol began to emerge. They faced issues even when choosing the singles; the group wanted to release "Stay (The Black Rose And The Universal Wheel)," but the label pushed for "Shame." Instead, "Forever (Live And Die)" was released, followed by "Shame" as the final single. "We Love You" had been scheduled as the second single, but while the band was away on tour, the label released "Shame" without their knowledge. There was also a track, "Goddess Of Love," originally intended for the classic film "Pretty In Pink"; however, the movie's climax changed, and the song was replaced by the massive classic "If You Leave."
Consequently, they worked on a different track for the album, as well as "Flames Of Hope"—which was ultimately used in Japanese television commercials. In fact, the album's title revolves around this theme: the prominent rise of East Asia in the global economy.
The band had just come off a massive tour comprising 187 shows prior to recording; the tour had been grueling and had nearly drained the band's energy, which is said to be the reason why Bruce Dickinson made no contributions to the album—as the band rejected all of his submissions.
Harris, speaking in Dickinson's defense, noted that the tour's exhaustion had taken a much heavier toll on Dickinson than on the rest of the band. However, Adrian Smith stepped up to the challenge, writing strong tracks—including the singles "Wasted Years" and "Stranger in a Strange Land" (the latter being the only song on the album that did not feature synthesizers).
The use of synthesizers came about in a rather curious way; following an exhausting tour, the band had four months to recover. During this time, Harris, Smith, and Murray began experimenting with new equipment—a move that heavily influenced the album's sound—as the band discovered the benefits that guitar-adapted synthesizers could bring to Iron Maiden.
It was also their most expensive production, as the drums and bass were recorded in the Bahamas, the vocals in the Netherlands, and the mixing was ultimately done in New York. The album's themes revolved around space, time, and futuristic concepts—very much in the style of the film *Blade Runner*—as evidenced by tracks such as "Wasted Years," "Caught Somewhere in Time," "Stranger in a Strange Land," and, of course, "Déjà-Vu."
However, Harris noted that the album was never intended to be a concept record; things simply turned out that way. Following the album's release, most of its tracks were rarely performed live again, with the exceptions of "Wasted Years" and "Heaven Can Wait," which the band continues to play.
