the lyrics, most notably on "Hands All Over" and "Big Dumb Sex", the band faced various retail and distribution problems upon the album's release. Louder Than Love became the band's first album to chart on the Billboard 200, peaking at number 108 on the chart in 1990. A month before touring for Louder Than Love was to begin, bassist Hiro Yamamoto, who was becoming frustrated that he was not making much of a contribution, left the band to return to college. Jason Everman, formerly of Nirvana, replaced him on bass. The band toured North America from December 1989 to March 1990, opening for Voivod, who were supporting their album Nothingface, with Faith No More and the Big F also serving as opening acts at the beginning and end of the tour. The band then went on to tour Europe. The band fired Everman in mid-1990 immediately after completing its promotional tour for Louder Than Love. Thayil said that "Jason just didn't work out." Louder Than Love spawned the EP Loudest Love and the video compilation Louder Than Live, both released in 1990. Established lineup, Badmotorfinger, and rise in popularity (1990–1993) Bassist Ben Shepherd replaced Jason Everman and the new lineup recorded Soundgarden's third album in 1991. Cornell said that Shepherd brought a "fresh and creative" approach to the recording sessions, and the band as a whole said that his knowledge of music and writing skills redefined the band. The band released the resulting album, Badmotorfinger, on October 8, 1991. Steve Huey of AllMusic said that the songwriting on Badmotorfinger "takes a quantum leap in focus and consistency". He added, "It's surprisingly cerebral and arty music for a band courting mainstream metal audiences." Thayil suggested that the album's lyrics are "like reading a novel [about] man's conflict with himself and society, or the government, or his family, or the economy, or anything". The first single from Badmotorfinger, "Jesus Christ Pose", garnered attention when MTV decided to ban its music video in 1991. The song and its video outraged many listeners who perceived it as anti-Christian. The band received death threats while on tour in the United Kingdom in support of the album. Cornell explained that the lyrics criticize public figures who use religion (particularly the image of Jesus Christ) to portray themselves as being persecuted. Although eclipsed at the time of its release by the sudden popularity of Nirvana's Nevermind, the