![]() And while accusations were lobbed at Crowe of bandwagon-jumping, the truth is that Singles was in development well before anyone outside of Seattle knew the word “grunge.” That’s because Warner Bros., unsure how to market Crowe’s film, sat on Singles’ release for a full nine months. Indeed, when the film’s soundtrack was released on June 30, 1992, Singles represented a time capsule of bands, and an entire music scene, about to explode into international prominence.Īided by the era-defining success of Nirvana’s Nevermind in September 1991, Singles (the soundtrack) eventually went double platinum, serving as something of a Seattle grunge sampler for a curious and hungry public. Plus, the film’s stars (Dillon, Campbell Scott, Kyra Sedgewick, Bridget Fonda and a pre- The Wire Jim True-Frost) all search for connection at various Seattle rock hotspots, where Crowe captured live performances from Soundgarden (doing “Birth Ritual”), Alice in Chains (“Would?”) and Pearl Jam (“Breath,” “State of Love and Trust”). (Their signature song “Touch Me I’m Dick” parodies Mudhoney’s “Touch Me I’m Sick.”) And Soundgarden’s Chris Cornell appears in a wordless cameo watching Dillon’s self-impressed frontman showing off his absurdly powerful (and windshield-destroying) car speakers. Eddie Vedder (just arrived from California to join the band Mookie Blaylock, right before they changed their name to Pearl Jam) and fellow Pearl Jam members Stone Gossard and Jeff Ament make up co-star Matt Dillon’s Mudhoney-like second-tier band Citizen Dick. Singles (the film) features supporting acting roles from multiple figures in the Seattle rock scene. And while 1992’s Singles proved a moderately affecting, pre- Friends tale of love among young, attractive, coffeehouse-loving Gen X folk, that film’s soundtrack became an irreplaceable signpost in the birth of Seattle’s music scene.Ĭrowe, having fallen in love with Seattle area native and rock star Nancy Wilson of Heart, immersed himself in the nascent grunge scene of the early '90s with prescience and drive. While undoubtedly indulging in a bit of self-mythologizing about his time as a real-life teenage writer for Rolling Stone, Crowe’s 2000 film Almost Famousremains a resolutely lived-in portrait of mid-level rock success. The Over driven and Distortion guitars provoked destruction and chaos while the acoustic guitar, using arpeggio brought back order and tranquility.Cameron Crowe’s sheen as a cinematic tastemaker may have waned over the years, but the filmmaker’s reputation as a rock insider was once unimpeachable. ![]() The various guitars being played at the same time instilled a psychedelic, dark, and reminiscent mood. The Instruments used were the acoustic, distortion, over driven and bass guitars as well as the drums which kept a steady beat. There are numerous times where repetition within the lyrics as well as with the instrumental melody occur making it difficult to identify whether or not a new section has begun. I believe this piece is constructed in a ABA Ternary Form in which the first section comes to an end with the beginning of the second section at 2:55 which lasts until 3:26,which indicates the start of the third and final section. I believe it is polyphonic as the various guitars used would introduce what seemed to be a different melody specifically during the guitar solo. I had a difficult time identifying whether the song is homophonic or polyphonic. The Dynamics went from playing soft (piano) to forte as the song progressed. The instruments are in key with the singers voice except at certain times such as at 2:55 when the guitar solo introduces a melody of its own. Dissonance taking place can be heard at the very end of the song starting around 5:09. The entire song is played on a minor scale with various changes occurring amongst the guitar chords. According to Wikipedia, the guitar solo in Black Hole Sun is over a riff that alternates between 4/4 and 9/8 and is played in dropped D tuning. There is also arpeggio occurring all throughout the song such as at 0:17. Syncopation occurs at 2:59 when the guitar solo begins and disturbs the regular rhythm. This song is played in a duple meter, in which the downbeat is emphasized by the drums playing in the background and also when the singer ends the verse with “Sun”.
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