Nirvana (CD - 1993)

Additional personnel: Kera Schaley (cello).

IN UTERO was nominated for a 1994 Grammy Award for Best Alternative Music Album.

"All Apologies" was nominated for 1995 Grammy Awards for Best Rock Performance By A Duo Or Group With Vocal and for Best Rock Song.

Nirvana: Kurt Cobain (vocals, guitar); Dave Grohl (vocals, drums); Krist Novoselic (bass).

Includes liner notes by David Fricke.

All tracks have been digitally remastered.

Personnel: Kurt Cobain (vocals, guitar); Dave Grohl (vocals, drums); Pat Smear (guitar); Lori Goldston (cello); Dan Peters, Chad Channing (drums).

Audio Mixers: Jack Endino; Adam Kasper; Andy Wallace; Scott Litt; Steve Albini; Steve Fisk.

Liner Note Author: David Fricke.

Recording information: Robert Lang Studio.

Photographers: Redferns; Corbis Bettman; Frank Ockenfels; Frank Micelotta; Hugo Dixon; Charles Peterson .

The long-awaited single-disc anthology of Nirvana's work, simply titled Nirvana, has all the hits and many of the radio favorites, plus the very good previously unreleased final recording, "You Know You're Right." ~ Stephen Thomas Erlewine

Ignore the legal wrangling, bad blood, feuds, even Kurt Cobain's suicide, behind the release of this long-awaited single-disc anthology of Nirvana's work, simply titled Nirvana, and focus on one simple thing: does it do its job well? Does it capture the essence of the most influential band of the '90s, the most storied band since the Beatles? Does it have all their best songs on one disc? The answer: kinda. The inherent problem with the disc is that it's difficult to compile Nirvana's best material by any chart-based yardstick, the way that the Beatles 1 -- Cobain's widow made no bones about the fact that she wanted this collection patterned after that hit, and to be as successful a catalog item -- did, since they didn't have that many singles, nor did their career need to be condensed like the Rolling Stones' Forty Licks since they only recorded for five years. Nirvana's best tracks -- not necessarily the same thing as Cobain's best songs, although they frequently overlapped -- were buried on album tracks, B-sides, stray singles, so there's no good criteria for why, say, "Dumb" makes the cut and "Aneurysm" doesn't. Even more problematic, Nirvana's three proper albums, along with the rarities compilation Incesticide and the acoustic MTV Unplugged, all have different personalities and sonic characteristics that don't necessarily fit well together, whether it's the gleaming Nevermind, the ragged indie pop band on Incesticide, or the stark despair of In Utero. So, what you wind up with is a record that has all the hits and many of the radio favorites, plus the very good previously unreleased final recording, "You Know You're Right," in a collection that is less than the sum of its parts. At 50 minutes, it's all too easy to concentrate on what's missing: "Something in the Way," "Polly," "Serve the Servants," "Verse Chorus Verse," "Dive," "Negative Creep," "Love Buzz," "Territorial Pissings," "Drain You," "School," "Lake of Fire," "Where Did You Sleep Last Night?," and, most egregiously, the aforementioned "Aneurysm" are all prime candidates to fill out the remainder of the disc. Not all could have fit, but the presence of a few more tracks, along with placing "You Know You're Right" at the end where it belongs, would have made this collection not just stronger, but possibly definitive. As it stands, it feels like a bit of a cheap compromise and a wasted opportunity. ~ Stephen Thomas Erlewine

Nirvana probably hired Steve Albini to produce In Utero with the hopes of creating their own Surfer Rosa, or at least shoring up their indie cred after becoming a pop phenomenon with a glossy punk record. In Utero, of course, turned out to be their last record, and it's hard not to hear it as Kurt Cobain's suicide note, since Albini's stark, uncompromising sound provides the perfect setting for Cobain's bleak, even nihilistic, lyrics. Even if the album wasn't a literal suicide note, it was certainly a conscious attempt to shed their audience -- an attempt that worked, by the way, since the record had lost its momentum when Cobain died in the spring of 1994. Even though the band tempered some of Albini's extreme tactics in a remix, the record remains a deliberately alienating experience, front-loaded with many of its strongest songs, then descending into a series of brief, dissonant squalls before concluding with "All Apologies," which only gets sadder with each passing year. Throughout it all, Cobain's songwriting is typically haunting, and its best moments rank among his finest work, but the over-amped dynamicism of the recording seems like a way to camouflage his dispiritedness -- as does the fact that he consigned such great songs as "Verse Chorus Verse" and "I Hate Myself and Want to Die" to compilations, when they would have fit, even illuminated the themes of In Utero. Even without those songs, In Utero remains a shattering listen, whether it's viewed as Cobain's farewell letter or self-styled audience alienation. Few other records are as willfully difficult as this. ~ Stephen Thomas Erlewine

"Teenage angst has paid off well," growls Kurt Cobain on IN UTERO's opening fusilade, "Serve The Servants," suggesting that perhaps success has spoiled Nirvana. Not! IN UTERO is a howling, defiantly punkish recording, an unsentimental throwback to an era of garage band epiphanies and raw, unadorned rock and roll. On IN UTERO, Nirvana rails against both "alternative" conformity and polished notions of commercial rock with the anthemic rage of true outcasts.

Engineer-producer Steve Albini has enabled Nirvana to replicate the savage immediacy of their live sound--the sound of a band without commercial aspirations or pretensions, just thrashing away for the sheer joy of noise. Drummer Dave Grohl and bassist Krist Novoselic play with heroic power as guitarist/vocalist/songwriter Kurt Cobain overlays their growling beat with shards of broken glass and shattered dreams.

On "Scentless Apprentice" each Cobain power chord is tempered by a series of calculated dissonances and melodic fragments, while the singer bares his vulnerability and anger through Nirvana's familiar soft-hard-soft-hard structures on "Heart Shaped Box" and "Rape Me." Through his crunching guitar and elliptical lyrics on various diseases and recoveries, Cobain lays bare the turmoil and resentments, the physical and mental ailments (self-inflicted and otherwise) that have colored Nirvana's notoriety. Instead of celebrating their success, Nirvana have fashioned a powerful cautionary tale on IN UTERO, to wit: that fame, acclaim and wealth are not liberating; that music like this cannot be produced on an assembly line, then be used once and tossed on a scrap heap; that life and music was a lot more fun when they were back playing for an audience of nine in some grungy club. IN UTERO is too strong and honest to ignore.

A Nirvana best-of that includes a previously unheard song; how much more of a no-brainer could you want? Admittedly, the trio that defined grunge--not to mention its contemporaneous generation of X'ers--wasn't around long enough to work up that extensive a discography. Still, who wouldn't relish the opportunity to have some of Nirvana's greatest tracks together on one disc (yes, completists, even the rarities collection INCESTICIDE ("Sliver") and the pre-fame album BLEACH ("About A Girl") are represented. And of course, such whisper-to-a-scream classics as "Lithium," "Come As You Are" and the ubiquitous, epochal "Smells Like Teen Spirit" are here.

Things quiet down a touch on the UNPLUGGED tracks (David Bowie's "The Man Who Sold The World, the IN UTERO hit "All Apologies"), but the intensity doesn't lessen a single iota. "Wait," we hear you cry, "what about that chilling live rendition of Leadbelly's "Where Did You Sleep Last Night" or NEVERMIND's haunting closer (hidden track aside) "Something In The Way?" You'll just have to wait for Vol. II (Courtney, are you listening?). By the way, the "new" track "You Know You're Right" is great, if not exactly revelatory.

The long-awaited single-disc anthology of Nirvana's work, simply titled Nirvana, has all the hits and many of the radio favorites, plus the very good previously unreleased final recording, "You Know You're Right." ~ Stephen Thomas Erlewine

Ignore the legal wrangling, bad blood, feuds, even Kurt Cobain's suicide, behind the release of this long-awaited single-disc anthology of Nirvana's work, simply titled Nirvana, and focus on one simple thing: does it do its job well? Does it capture the essence of the most influential band of the '90s, the most storied band since the Beatles? Does it have all their best songs on one disc? The answer: kinda. The inherent problem with the disc is that it's difficult to compile Nirvana's best material by any chart-based yardstick, the way that the Beatles 1 -- Cobain's widow made no bones about the fact that she wanted this collection patterned after that hit, and to be as successful a catalog item -- did, since they didn't have that many singles, nor did their career need to be condensed like the Rolling Stones' Forty Licks since they only recorded for five years. Nirvana's best tracks -- not necessarily the same thing as Cobain's best songs, although they frequently overlapped -- were buried on album tracks, B-sides, stray singles, so there's no good criteria for why, say, "Dumb" makes the cut and "Aneurysm" doesn't. Even more problematic, Nirvana's three proper albums, along with the rarities compilation Incesticide and the acoustic MTV Unplugged, all have different personalities and sonic characteristics that don't necessarily fit well together, whether it's the gleaming Nevermind, the ragged indie pop band on Incesticide, or the stark despair of In Utero. So, what you wind up with is a record that has all the hits and many of the radio favorites, plus the very good previously unreleased final recording, "You Know You're Right," in a collection that is less than the sum of its parts. At 50 minutes, it's all too easy to concentrate on what's missing: "Something in the Way," "Polly," "Serve the Servants," "Verse Chorus Verse," "Dive," "Negative Creep," "Love Buzz," "Territorial Pissings," "Drain You," "School," "Lake of Fire," "Where Did You Sleep Last Night?," and, most egregiously, the aforementioned "Aneurysm" are all prime candidates to fill out the remainder of the disc. Not all could have fit, but the presence of a few more tracks, along with placing "You Know You're Right" at the end where it belongs, would have made this collection not just stronger, but possibly definitive. As it stands, it feels like a bit of a cheap compromise and a wasted opportunity. ~ Stephen Thomas Erlewine minimize