Posts Tagged ‘Kurt Cobain’

The album “Nevermind” turned Nirvana from unknowns to the biggest musical act in the world and positioned frontman Kurt Cobain as the face of grunge. Although a sensational album, it’s follow-up record “In Utero” that cemented Nirvana’s legacy. Unhappy with the over polished production of Nevermind and concerned with accusations of selling out, Cobain ditched producer Butch Vig for Steve Albini and set about recording an album capturing the harsh, punk influenced sound of their debut Bleach.

In a detailed four-page proposal to the band, Albini laid down his ground rules, the most shocking being his refusal to accept royalties. “I think paying a royalty to a producer or engineer is ethically indefensible. I would like to be paid like a plumber: I do the job and you pay me what it’s worth,” he wrote. “There’s no way I would ever take that much money. I wouldn’t be able to sleep.” He suggested Pachyderm Studios for its isolation in the woods, claiming that recording in a city would cause distractions. He also banned visits from Geffen Records staff members, whom he called “front office bullet heads.”

Albini believed in working fast without over-thinking, so the band cut the album in just two weeks. “If a record takes more than a week to make, somebody’s fucking up,” he wrote in the proposal. The speed at which they recorded, combined with the raw, visceral sound and minimal production, differed greatly from Nevermind, an album that was incredibly clean and streamlined.

In the February 1993, Nirvana made their way to the secluded Pachyderm Studios in Cannon Falls, Minnesota, to begin work on their third album. The last time they had stepped foot in a studio, they were a little known Seattle band that had just left Sub Pop for David Geffen’s DGC. Now, with a multiplatinum album that knocked Michael Jackson off the charts and turned them into one of the biggest rock bands on the planet, they were under immense pressure to follow it up.

“In Utero” achieved this in spades. Draining opener “Serve The Servants” (“Teenage angst has paid off well”), thrash influenced “Very Ape” and cascading hit single” Heart-Shaped Box” were raw sounding tracks exemplifying Cobain’s want of an abrasive sounding record. “Dumb” and the moving finale of “All Apologies” offered lighter moments amongst the chaos, and although Cobain claimed the lyrical content of the album impersonal, it’s hard not to draw parallels between In Utero’s themes and Cobain’s life at that time. It’s 41 minutes of raw, uncompromising rock that was unlike anything else in the pop landscape. Cobain, disenchanted by his overwhelming fame and the widespread media coverage of his personal life, was ready to vent.

Cobain’s bleak worldview was on full display. Many of the songs are best remembered for their gut-wrenching, stripped-back acoustic renditions on MTV Unplugged, but In Utero is treasured among hardcore fans as Nirvana in their purest form. The original title was “I Hate Myself and Want to Die”.
“Nothing more than a joke,” Cobain told Rolling Stone. The line, which first appeared in Cobain’s journals in mid-1992, became the working title for the follow-up to Nevermind. “I’m thought of as this pissy, complaining, freaked-out schizophrenic who wants to kill himself all the time. And I thought it was a funny title. But I knew the majority of people wouldn’t understand it.”. Fearing the title would result in the same legal trouble Judas Priest faced three years prior when two fans shot themselves, Krist Novoselic urged Cobain to rethink it. The other working title wasVerse, Chorus, Verse, but Cobain finally settled on In Utero, which he took from a poem of Courtney Love’s.

Nirvana

Cobain had one goal in mind: to bring the band back to their punk-rock roots. Their millions of new fans may have reveredNevermind, but Cobain thought it sounded “candy-ass” and way too commercial. So he recruited esteemed engineer Steve Albini (who had recorded Pixies, the Breeders, the Jesus Lizard and other Cobain faves) and headed for the woods in rural Minnesota

Cobain wrote “Rape Me” to dramatically condemn rape and emphasize his support for women, but the song sparked immediate controversy. “Over the last few years, people have had such a hard time understanding what our message is, what we’re trying to convey, that I just decided to be as bold as possible,” he told Rolling Stone. A huge supporter of the riot grrrl movement and a fan of bands with female members like the Breeders and the Raincoats, Cobain wanted In Utero to pave the way for more female artists. “Maybe it will inspire women to pick up guitars and start bands,” Cobain said in 1993. “Because it’s the only future in rock ‘n’ roll.”

Wal-Mart and Kmart refused to carry “In Utero” because of the song “Rape Me” and the graphic imagery on the back cover.
Cobain agreed to change the title of “Rape Me” to “Waif Me,” while the back cover was softened to comply with the demands. “When I was a kid, I could only go to Wal-Mart,” he told his manager Danny Goldberg. “I want the kids to be able to get this record.” 

Understandably, “Rape Me” caused other issues for the band, most notably at the 1992 MTV Video Music Awards when network executives told the band that if they played the song they’d immediately cut to commercial. Feeling challenged, Cobain played a bit of the song when they walked out and then went directly into a blazing rendition of “Lithium.” 

All three members received credit on “Scentless Apprentice,” an extreme rarity for the group since Cobain normally wrote the songs himselfThe raging “Scentless Apprentice,” inspired by Patrick Süskind’s 1985 novel Perfume, is the only track on the studio album co-written by Cobain, Novoselic and Grohl. (On Nevermind, they shared credit on “Smells Like Teen Spirit” and its B side “Aneurysm.”) “Scentless Apprentice” was recorded in just one take. “Nobody said, ‘We should do it again,’” Grohl said “Because that was the fucking take.”

Cobain wrote out a detailed vision for the “Heart-Shaped Box” video with William Burroughs as the star. “William and I sitting across from one another at a table (black and white),” he wrote. “Lots of blinding sun from the windows behind us holding hands staring into each other’s eyes.”

By the time he approached Burroughs, he had decided to cast him as an elderly Jesus, even offering to conceal his identity. “I realize that stories in the press regarding my drug use may make you think that this request comes from a desire to parallel our lives,” he wrote in a letter. “Let me assure you that this is not the case.” Though Burroughs declined the offer, Cobain finally got to meet his beat hero at his home in Kansas that fall. 

After Cobain met Courtney Love in 1990, Love gave Dave Grohl a heart-shaped box to give to Cobain. She filled it with items that matched Cobain’s taste — a porcelain doll, dried roses and other tokens — and sprayed some of her perfume on it. As Cobain and Love’s romance blossomed, the item became a symbol of their love. It was also the one item in their home they had in common.

 

“Pennyroyal Tea” was one of Nirvana’s first songs to showcase the soft-loud-soft formula they became famous for. It was first written and recorded on a four-track with Dave Grohl in Cobain’s house in Olympia, Washington. It went through several permutations before its release on In Utero, including instrumental takes recorded by Jack Endino in 1992. “Pennyroyal Tea” and “Smells Like Teen Spirit” were debuted live the same night, at the O.K. Hotel in Seattle in 1991. “Pennyroyal Tea” was slated to be the third single for In Utero,but was cancelled after Cobain’s suicide in 1994.
After Cobain’s death, the label decided to recall copies of the single, which had a B side of “I Hate Myself and Want to Die,” and destroy them. But copies had already been sent overseas and somewhere between 200 and 400 of them reached the fan community.

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Houdini

The Melvins had been playing for years before the word “grunge” came into fashion to describe the intense, sludgy alternative rock they helped pioneer, so it’s only fair that when Nirvana hit, the band got offered a major label deal. Released 25 years ago today, HOUDINI, the first Melvins album for Atlantic and their fifth overall, was partially produced by longtime fan Kurt Cobain, who also contributes a bit of guitar to “Sky Pup.” These dozen originals (plus a version of Kiss’ “Going Blind”) are loud, heavy and lumbering, and the massive riffs and weird twists of “Honey Bucket,” “Lizzy” and “Hooch” are still overpowering. Featuring iconic Frank Kozik cover art, HOUDINI is the Melvins‘ most successful album to date, and an ideal introduction to the work of King Buzzo and company.

“Houdini2  is the fifth album by Melvins, which was released in 1993 through Atlantic Records.

Track List : 01 Hooch – 0:00 02 Night Goat – 2:50 03 Lizzy – 7:31 04 Going Blind – 12:15 05 Honey Bucket – 16:48 06 Hag Me – 19:48 07 Set Me Straight – 26:56 08 Sky Pup – 29:22 09 Joan of Arc – 33:12 10 Teet – 36:49 11 Copache – 39:41 12 Pearl Bomb – 41:48 13 Spread Eagle Beagle – 44:34 All rights reserved to The Melvins and Atlantic Records.

Image result for photos from NIRVANA - " MTV Unplugged

On This Day – In 1993, Nirvana recorded their MTV Unplugged special at Sony Studios, New York. Nirvana As opposed to traditional practice on the television series, the band played a setlist composed of mainly lesser-known material and cover versions of songs by The Vaselines, David Bowie, Lead Belly,  and the Meat Puppets whose Cris and Curt Kirkwood joined Nirvana onstage.

The set was released nearly a year later “MTV Unplugged in New York” as a live album by the band. It features the acoustic performance on November 18, 1993, for the television series MTV Unplugged. The show was first aired on the cable television network MTV on December 16th, 1993.

MTV Unplugged in New York was the first Nirvana album released following the death of Kurt Cobain. The album has become the group’s most successful posthumous release, The performance was released on DVD in 2007.

Nirvana had been in negotiations with MTV to appear on its acoustic-based show for some time. It was while touring with the Meat Puppets that Nirvana frontman Kurt Cobain finally accepted. The band wanted to do something different from a typical MTV Unplugged episode for its performance. According to drummer Dave Grohl, “We’d seen the other Unpluggeds and didn’t like many of them, because most bands would treat them like rock shows and play their hits like it was Madison Square Garden or somewhere similair, except with acoustic guitars.” The group looked at Mark Lanegan’s 1990 album The Winding Sheet as a source of inspiration. Among the ideas the band members came up with included covering David Bowie’s “The Man Who Sold the World” and inviting members of the Meat Puppets to join them on stage. Still, the prospect of performing an entirely acoustic show made Cobain nervous.

The band dedicated two days to rehearsals. The rehearsal sessions were tense and difficult, with the band running into problems performing various songs. During the sessions, Cobain disagreed with MTV as to how the performance should be presented. Producer Alex Coletti recollected that the network was unhappy with the band’s choice of the Meat Puppets as guests (“They wanted to hear the ‘right’ names – Eddie Vedder or Tori Amos or God knows who,” Coletti recalled) and the dearth of hit Nirvana songs on the setlist. Upset, the day before filming was set to take place, Cobain refused to play. However, he appeared at the studio the following afternoon. Cobain was suffering from drug withdrawal and nervousness at the time; one observer said, “There was no joking, no smiles, no fun coming from him … Therefore, everyone was more than a little worried about his performance.”

Nirvana taped its performance for MTV Unplugged on November 18th, 1993, at Sony Studios in New York City. Cobain suggested that the stage be decorated with stargazer lilies, black candles, and a crystal chandelier. Cobain’s request prompted the show’s producer to ask him, “You mean like a funeral?”, to which the singer replied, “Exactly. Like a funeral.”  Nirvana was augmented by guitarist Pat Smear and cellist Lori Goldston, who had been touring with the band. Despite the show’s premise, Cobain insisted on running his acoustic guitar through his amplifier and effects pedals. Coletti built a fake box in front of the amplifier to disguise it as a monitor wedge. Coletti said, “It was Kurt’s security blanket. He was used to hearing this guitar through his Fender Amp. He wanted those effects. You can hear it on the song ‘The Man Who Sold the World.’ It’s an acoustic guitar, but he’s obviously going through an amp.”

Unlike many artists who appeared on the show, Nirvana filmed its entire performance in one single take.  The band’s fourteen-song setlist included a single song from its debut album, Bleach, four songs from the 1991 album Nevermind, three tracks from the then-recently released In Utero, and six cover songs. The group shied away from playing its better-known songs; the only contemporary hit the band performed was its 1992 single “Come as You Are”. Ten songs in, Cris and Curt Kirkwood of the Meat Puppets joined the band onstage to perform three of their group’s songs with Nirvana. The set ended with a performance of the traditional song “Where Did You Sleep Last Night”, following the arrangement of blues musician Lead Belly, whom Cobain described right before the song as “his favorite performer ever”. This rendition has been regarded as one of the greatest live single song performances of all time.

Music critic Andrew Wallace Chamings described, “For the final line, ‘I would shiver the whole night through,’ Cobain vocal jumps up an octave, forcing him to strain so far he screams and cracks. He hits the word ‘shiver’ so hard that the band stops, as if a fight broke out at a sitcom wedding. Next he howls the word ‘whole’ and then does something very strange in the brief silence that follows, something that’s hard to describe: He opens his piercingly blue eyes so suddenly it feels like someone or something else is looking out under the bleached lank fringe, with a strange clarity. Then he finishes the song.” After the band finished, Cobain argued with the show’s producers, who wanted an encore. Cobain refused because he felt he could not top the performance of that song.

 

Related image

The MTV Unplugged In New York performance was released on DVD on November 20th, 2007. The DVD release featured the entire taping, including the two songs (“Something in the Way” and “Oh Me”) excluded from the broadcast version. Bonus features consisted of the original broadcast version of the performance, a 1999 MTV special titled Bare Witness: Nirvana Unplugged featuring the recollections of MTV producers and audience members, and five songs taped during the pre-show rehearsal: “Come as You Are”, “Polly”, “Plateau”, “Pennyroyal Tea”, and “The Man Who Sold the World”.

Nirvana 

  • Kurt Cobain – lead vocals, acoustic guitar
  • Krist Novoselic – acoustic bass, accordion , acoustic rhythm guitar
  • Dave Grohl – drums, backing vocals,

Additional musicians

  • Pat Smear – acoustic guitar,
  • Lori Goldston – cello,
  • Cris and Curt Kirkwood – acoustic bass and backing vocals

Before we had RIYL algorithms and Spotify discovery playlists, we had Kurt Cobain. The Nirvana frontman wasn’t just one of the most commercially successful and critically acclaimed alt-rock artists of the early ‘90s, he was also its foremost tastemaker. Cobain’s conflicted relationship with fame has been well documented, but one benevolent side effect of his discomfort in the spotlight was that he used every opportunity to redirect it onto lesser-known artists, and not just ones from his immediate community. While the media was hyping the Seattle scene, Cobain was leading impressionable kids down underground pathways that extended from Scotland to Japan.

This was a guy who could get an obscure, out-of-print punk record reissued by a major label by name-dropping it an interview, or who could effectively play armchair A&R rep and score a deal for an unsung artist by just by wearing their t-shirt. Even if only a tiny fraction of the 10 million people who bought Nevermind were willing to check out a record based on his recommendation, it was enough to turn groups like Shonen Knife into international club headliners, and enough to transform The Wipers’ once-obscure early ‘80s releases into canonical punk classics for future generations to discover.

Since his 1994 suicide, Cobain’s life and work have been put under the microscope many times over, through numerous biographies, documentaries, and barrel-scraping box sets. But one of the most illuminating pieces of detritus can be found in the 2002 scrapbook Journals: a handwritten list of his 50 favorite albums of all time. It’s a document that illustrates how, behind all the disaffected cool, Cobain was just a list-making music nerd like the rest of us. And based on the most recent entry—PJ Harvey’s 1992 debut Dry—it was a practice he indulged in even after his face was all over Rolling Stone and MTV. (He even divided his entries with lines as if he were designing the flippable label cards in his own imaginary jukebox.)

Kurt’s list reveals a typical punk-rock initiation process: You’ve got the pioneers (The Stooges, the Sex Pistols), their more extreme hardcore spawn (Black Flag, Fear), the detouring post-punk experimentalists (Public Image Ltd., Gang of Four), and the mutant recombinant offspring who fuse and abuse all of the above (Flipper, Butthole Surfers). It’s the last iteration that had the most audible impact on Nirvana, particularly on bludgeoning Bleach-era tracks like “Paper Cuts” (which bears both the bone- and soul-crushing heft of ‘80s Swans), Incesticide oddities like “Hairspray Queen” (which finds Kurt squealing like a young Gibby Haynes), and In Utero crushers like “Milk It” and “Scentless Apprentice” (where Kurt chews on the tin foil spit out by Scratch Acid’s David Yow). And then there’s the only band to earn three slots on Kurt’s list: Portland underground demigods The Wipers, whose relentless momentum and hoarse-throat hooks set the fiery pace for Nirvana corkers like “Breed” and “Territorial Pissings.” (Funnily enough, after once admitting that The Clash’s Sandinista! disappointed him as a kid because it didn’t align with his perceptions of punk, Kurt includes the much more commercial follow-up, Combat Rock—perhaps as a commiserating reminder that he wasn’t the first punk who had to deal with becoming popular.)

Like many kids born in the late ‘60s, Kurt’s first musical obsession was The Beatles. Their melodic sensibility formed a crucial strain of his musical DNA that withstood his eventual conversion to punk, leading to breakthrough moments like “About a Girl.” (Tellingly, Kurt’s favorite Fab Four record isn’t a typical muso pick like Revolver or the White Album, but the band’s winsome U.S. debut, Meet the Beatles, whose brevity and simplicity are more compatible with his passion for DIY indie rock.) Meanwhile, his adolescent affinity for mid-‘70s Aerosmith was entrenched enough that he would (partially) name a song after them, and while David Bowie was a less obvious influence on Nirvana, the band’s reverential cover of “The Man Who Sold the World” forged their spiritual connection with rock’s original iconoclast. But Kurt was also willing to own up to inspiration from less-respected hit-makers—listen to the verses of The Knack’s “Good Girls Don’t,” and you’ll hear the sort of slack, sardonic delivery he brought to Nirvana songs like “On a Plain.” His list also betrays a growing fascination with ’40s folk pioneer Lead Belly that would ultimately yield one of Cobain’s most chilling performances.

Nirvana’s explosive success couldn’t have happened without the fuse-igniting efforts of their immediate alt-rock antecedents—both close to home and beyond. “Negative Creep” is essentially Mudhoney’s “Sweet Young Thing Ain’t Sweet No More” flipped from 33 rpm to 45. The crash/burn/rebuild structure of Sonic Youth’s “Silver Rocket” would reappear in smoothed-out form on the alternately rousing and brooding “Drain You.” The whisper-to-scream hysterics of the Pixies, can of course, be heard on any number of Nirvana songs, but bassist Kim Deal’s Breeders offshoot was an equally profound influence, with the nocturnal, string-scraped atmosphere of Pod filtering down to In Utero respites like “Dumb” and “Penny Royal Tea.” And though the radiant, paisley-patterned jangle of R.E.M.’s Green may not be as perceptible, the wry, self-reflexive quality of “Pop Song 89” feels like a spiritual successor to Nirvana’s own meta-rock commentaries, like “In Bloom.”

Embarrassed somewhat by Nevermind’s big-budget studio polish (which he infamously compared to a Mötley Crüe record), not to mention the increasingly slick nature of alternative rock, Kurt used his pop-star pulpit to champion the virtues of amateurism. In the collapsible sing-alongs of ‘60s outcasts The Shaggs, he heard something stranger and more radical than anything you could find on 120 Minutes. Through his beloved Vaselines, he learned how to balance playful melodies atop rickety punk-rock foundations. And in the solitary serenades of Daniel Johnston and the giddy garage-rock of Shonen Knife, he heard the purest manifestation of the childlike emotions he tried to access on songs like “Sliver.” But while his fondness for ramshackle post-punk and lo-fi indie pop brought out Nirvana’s more playful side (best heard on Incesticide’s odds ‘n’ sods and the more whimsical moments of the MTV Unplugged set), for Kurt, that music was also represented an effective weapon for dismantling rock’s patriarchal power structure. Nirvana may not bear the direct musical influence of minimalist, female-fronted bands like The Raincoats, Young Marble Giants, and Kleenex, nor is there anything in their catalog resembling the homoerotic joke-folk hijinks of The Frogs, but they undoubtedly inspired him to become the preeminent male-feminist and pro-gay rock star of his generation, one who was willing to write indictments of rape (“Polly”) and machismo (“Mr. Moustache”), and who happily used his liner notes to tell the racist and homophobic jocks in his audience to fuck off. (Though one can’t help but wonder if, he were around today to make a similar Top 50 list in this post-poptimist age, he might include more than one hip-hop record.)

When Nirvana’s album “Bleach” hit record stores 28 years ago today, not a single person in the industry saw it as the debut effort by a band that would change the world. The top album in the country that week was The Raw & The Cooked by Fine Young Cannibals, followed by the Beaches soundtrack at #2.  Metal bands like Poison and Mötley Crüe were packing arenas, Tiffany and Debbie Gibson were ascendent and the last thing on anyone’s mind was this grunge trio from Seattle.

Bleach is the debut studio album by the American rock band Nirvana, released on June 15th, 1989 by Sub Pop. It was recorded for a mere $606.17 at Reciprocal Recording in Seattle. Local guitarist Jason Everman cut the check for the sessions, so they listed him as a member of the group even though he didn’t actually play on the album. “We still owe him the $600,” said Kurt Cobain  “Maybe I should send him off a check.” It was packed with songs they’d been playing live for months, including “Floyd The Barber” (essentially an ultra-violent piece of Andy Griffith fan fiction), “Love Buzz” (a Shocking Blue cover) and “About A Girl,” a poppy song that showed the group’s impressive range.

“Even to put ‘About a Girl’ on Bleach was a risk,” Cobain has said, “I was heavily into pop, I really liked R.E.M., and I was into all kinds of old ’60s stuff. But there was a lot of pressure within that social scene, the underground-like the kind of thing you get in high school. And to put a jangly R.E.M. type of pop song on a grunge record, in that scene, was risky.”

The album failed to dent the charts when it came out, but it did impress many critics, earning public praise from Sonic Youth and eventually move 35,000 units despite very little mainstream press. It was enough to get the attention of David Geffen’s DGC, which bought the group out of their Sup Pop contract. Going onto a major was a controversial move for any band from the punk rock world, but Cobain rationalized it was the best way to expose the masses to their movement.

“That’s pretty much my excuse for not feeling guilty about why I’m on a major label,” Cobain told Rolling Stone in 1992. “I should feel really guilty about it; I should be living out the old punk-rock threat and denying everything commercial and sticking in my own little world and not really making an impact on anyone other than the people who are already aware of what I’m complaining about. It’s preaching to the converted.”

Bleach’s follow up LP “Nevermind” would convert more people to Nirvana than he could have possibly imagined when he signed with DGC. Here’s a complete show they played at Chicago’s Cabaret Metro on September 30th, 1989 packed with Bleach tunes – back when they were just one of many grunge bands struggling to gain a profile away from the tiny Seattle rock scene.

Set list:

  1. Intro
  2. School
  3. Scoff
  4. Love Buzz (Shocking Blue cover)
  5. Floyd the Barber
  6. Dive
  7. Polly
  8. Big Cheese
  9. Spank Thru
  10. Token Eastern Song
  11. About a Girl
  12. Stain
  13. Negative Creep
  14. Blew

Kurt Cobain, lead singer for the US grunge rockers Nirvana, performing at the Nakano Sun Plaza in Tokyo during their 1992 Asian-Pacific tour

Kurt Cobain would have turned 50 today. The Nirvana frontman Kurt Cobain, who defined grunge and the rise of alternative rock, would have turned 50 on this Monday. He remains an enduring cultural presence

The 27-year-old shot himself at his home in Seattle on April 5th, 1994, ending his life, his suffering and, at least symbolically, the grunge movement. Rock has kept evolving since his suicide yet “Nevermind,” Nirvana’s brutal 1991 masterpiece, is still widely considered as one of the most influential albums in history.

“He remains one of the most important musicians of the last two decades in music, with an album that is still one of the last great rock records,” said Charles R. Cross, who has written three books on the artist including “Here We Are Now: The Lasting Impact of Kurt Cobain.”

To Cross, Cobain’s key contribution is opening the way for songwriters to tackle a wider emotional range. Nirvana’s songs included “Lithium,” a frank exploration of Cobain’s manic depression, and the searing “Rape Me.” “His impact on songwriting was that he made it okay for songs to be about painful emotions, such as angst, and depression.

There has been a lot – okay, way too much – written about every element of Cobain’s life, but still his songwriting tends to be underrated, obscured by myth and flannelette. To celebrate his life, here are five of his very best songs,  of which never made it onto an official studio album – or even onto their B-sides and rarities collection, Incesticide.

It’s an impressive, varied collection, and proof of the quality of his songwriting .

CLEAN UP BEFORE SHE COMES A moody song with layered round-style vocals about attempting to make a shithole slightly more bearable in an attempt to impress a visiting girl. A tale as old as time!

I HATE MYSELF AND I WANT TO DIE, This was originally the title of In Utero until a record company suit vetoed it, perhaps realising there’s a limit to how widely an album with that name will be stocked. This surprisingly sunny pop song ended up as a hidden track on the Beavis and Butthead Experience soundtrack, and was slated to appear as the ‘Pennyroyal Tea’ B-side, before this was shelved following Cobain’s suicide.

MOIST VAGINA, Another song with a less-than-ideal title for the suits at Geffen. This was the B-side for ‘All Apologies’ and features a chorus where Kurt wails the word ‘marijuana’ over and over.

SAPPY,  It’s hard to see why this classic, hooky pop song was left off Nevermind, unless it was simply too catchy to fit comfortably on an album already teeming with pop hits. One of Cobain’s very best songs.

CURMUDGEON, A screaming, squawking song that is the polar opposite to its A-side ‘Lithium’. One of Cobain’s more raw vocals, and a pointer to In Utero.

MARIGOLD , The only Dave Grohl-penned track to feature in the Nirvana catalogue, and also the only song in which he sang lead vocals. This could be seen as the moment where Foo Fighters started (although he recorded the Pocketwatch demo tape the previous year). When Grohl re-recorded the track in 2006 for the “Skin and Bones” album, it became the only song to feature in both band’s catalogues.

thanks to Tone Deaf

nirvana ticket

with the anniversary of Kurt Cobain’s Death this week, this is the band performing at Nottingham Rock