Archive for the ‘Popular Bands’ Category

Thoughts on “Sirvana”

January 28, 2014
grohl-600-1390844562

Image: Rolling Stone

Apparently, at the Grammys on Sunday night, a Grammy award was given to Paul McCartney, Krist Novoselic, Pat Smear, and Dave Grohl, collectively known as “Sirvana”. They won a Grammy for best rock song, or something. As a huge Nirvana fan, I’m glad that Krist and Pat could get some time in the spotlight, but I don’t much care for “Sirvana.”

It all started horribly when they decided to get together and make a song with Paul McCartney for the Hurricane Sandy Relief concert at Madison Square Garden. The reasoning was very admirable. They were using their celebrity to raise money for a good cause. It went downhill as soon as Paul McCartney hit the studio and had no idea who these other people were. Billboard quoted him saying:

“I didn’t really know who they were,” he reportedly said. “They are saying how good it is to be back together. I said: ‘Whoa? You guys haven’t played together for all that time?’

“And somebody whispered to me: ‘That’s Nirvana. You’re Kurt.’ I couldn’t believe it.”

This, to me, is a lack of respect to Nirvana and Nirvana fans. You can’t blame Paul, though. He’s been really busy making some really awful music. So, you can forgive him for not knowing about a band who completely changed the face of music. It’s like if Nirvana didn’t know who the Beatles were. Everyone knows who the Beatles are, and everyone knows who Nirvana is, except, of course, the person 3/4 of them just won a Grammy with. That makes sense.

In an interview with Rolling Stone, McCartney tried to backtrack his earlier ignorance saying:

Asked about future collaborations with the Nirvana members, McCartney said, “You never know. They really are great to play with. They were a great band with Kurt. That’s what I experienced – just playing with a really good band, which is a very special thing. I should know.”

Another reason I can’t get behind “Sirvana” is that it seems so contrived. I’m glad they didn’t cover any Nirvana songs, but I am not interested in them recording new songs, either.

The Atlantic Gets It Mostly Right On Nirvana Unplugged

December 16, 2013


Earlier this week, The Atlantic published an article commemorating the 20th anniversary of the airing of their MTV Unplugged in New York (Unplugged) album. It provides a great overview of the concert, some of which is transferred to the album, and some of which is only visible on the live show. However, I believe the author gets it wrong, as most do, when it comes to the subject of Kurt’s solo performance of “Pennyroyal Tea” (video above).

If you listen to the banter before the song, you could surmise that the solo rendition of the song was a spur of the moment decision made by Kurt, and the band was in such a bad place by then, that they had no choice but to listen for fear of a public melt-down. That is not the case, at all, though. Certainly, Nirvana was in a bad place. Dave had already been looking into a new band (what would become Foo Fighters) and Kurt had talked in interviews about a life after Nirvana. The album containing “You Know You’re Right”, assuming it would have been completed, could have easily been their last. However, this tiny exchange was not a micro-cosm of the bigger problems.

Nirvana had planned to play “Pennyroyal Tea” as a Kurt solo. They rehearsed it solo. The author of the Atlantic article jumps to several wrong conclusions.

Watching the video of the performance only heightens the effect. At the end of the first song Kurt looks at the camera and gives a gnarly forced smile. He later told the producers to make sure it was edited in because, “My manager tells me I need to smile more.” It’s a rare glimpse of humor from an agitated and prickly soul. Even Kurt’s closest allies seem wary of him. Dave Grohl sits quietly throughout, with only a stripped-down kit and a pair of brushes to protect him from Kurt, who repeatedly spins around on his chair and glares at the drummer over hunched shoulders. At one point Kurt passively tells Grohl to not play on “Penny Royal Tea,” [sic] saying, “Am I going to play this, alone?” Dave immediately understands that it’s not a question but a command and lays down his brushes on his snare: “Do it alone.” Grohl then nervously turns to guitarist Pat Smear, asking, “Do you have a smoke, Pat?”

Kurt goes on to play the very personal song alone with his eyes closed. As it ends Grohl shouts out “That was really great!” Kurt responds, “Shut up.” It’s a sore moment revealing a singer uncomfortable in his own skin, through addiction and depression, and a friend who seems to only want him to pull through.

The “nervous” conversation between Grohl and Kurt was more of a “should I really do this by myself?” with Dave answering “sure, why not”. The only question was if Pat would also help singing backup vocals.. As you can see from the setlist, it was always going to be jsut Kurt and Pat. The insecurity of Kurt show throughout the show. Right before he played “Pennyroyal Tea”, he starts of “The Man Who Sold the World” by saying that he “could screw it up” and after the song was over, with almost a surprised relief, he states “I didn’t screw it up, did I? OK, but here’s another one I could screw up…”

He then launched into “Pennyroyal Tea”. The song was rife with errors. He screwed up the second verse and subsequently, the second chorus. He also screwed up the chorus in the third verse. He did not screw up the guitar solo by not doing it. It was planned that he would not do it. Perhaps, it was a sign of his insecurity, perhaps he just didn’t feel like playing it. We’ll never know. He knew he screwed the song up, and Dave knew it as well. It seems that Dave was trying to ease the tension and anger Kurt felt after that performance.Kurt also did not, as the article states, play the song with his eyes closed. He played it the same way he played every other song during the performance.

Going into the Unplugged concert, Kurt was really nervous and anxious. There were at least two reason for this. This would be a stripped down set where everything would be exposed, and Kurt was keenly aware of his limitations on guitar; which is why Pat Smear was added to the lineup. The anxiety was also because of the setlist they chose. Nirvana had seen other bands play this concert and they were disappointed that they would play their hits. No one in Nirvana thought it was the proper venue to do that. There was a lot of pressure on Nirvana by this point. They decided to do the “Unplugged” concert because “In Utero” had not reached the commercial success of “Nevermind” and they weren’t selling out arenas anymore. “Unplugged” was a last ditch effort to breathe some new life into the band. All of this played into Kurt’s attitude and demeanor during the show.

All in all, The Atlantic piece is a great tribute to a great show, it just gets a few things wrong, reads into situations incorrectly. The “Pennyroyal Tea” myth has been persistent since people first saw it. The reality, however, is not as sex as the myth which is why it has persisted. To hear what the song should have sounded like at the show, listen to the demo version that was released on the box set. Because Kurt ended his life so shortly after the show aired for the first time and before the album was ever released, it has become the final portrait of a tortured soul. It has stood on it’s own merits for 20 years, and it will last the test of time.

Album Review: Soundgarden’s Screaming Life/Fopp EP

December 9, 2013

Soundgarden Screaming Life

Sub Pop Records did everyone a favor and, at long last, re-released Soundgarden‘s debut EPs “Screaming Life” and “Fopp“. It wasn’t the first time they were recorded (they had singles on a few compilation albums before this), but it was the first time it was just them. These two EPs set the stage for one of the most popular bands of all-time.

If you are only familiar with Soundgarden from “Superunknown“, then these two EPs will be a much different sound than you are used to. They are must more straight-forward rock where “Superunknown” is a more brooding album. “Screaming Life” was produced by the “Godfather of Grunge” Jack Endino and “Fopp” was produced by another grunge veteran, Steve Fisk.

Screaming Life is very hard-hitting. It is as ‘in your face’ as the album cover suggests. One of the more fun tracks is “Sub Pop Rock City”. It was originally not on the EP and was only on the seminal Sup Pop 200 album, but they included it for the re-issue. The song features cameos from Bruce Pavitt and Jonathan Poneman. The EP also has the first Soundgarden song ever recorded, Hunted Down.

Fopp provides a slightly different, more experimental sound. It shows signs of what would become “Ultramega OK” and the perennially underrated “Batmotorfinger”. It is a much shorter EP than “Screaming Life”, but it’s just as good. It really only has three songs as one of the songs is a “Fopp” remix. The title track provides a lot of fun and the remix is a great listen, as well.

These EP provide an early glimpse in to the early days of Sub Pop and the formation of what would be come to be known as “Grunge Rock.” Soundgarden played as big of a role, if not much bigger, as any other band and now we have a chance to listen to some of their earliest work and find out what helped shape their sound. It should’t be passed up.

Experience Music Project Museum: Taking Punk To the Masses Exhibit

November 22, 2013

Nirvana: Taking Punk to the Masses

If you haven’t been to the Experience Music Project (EMP) Museum in Seattle, you need to. A friend and I  were able to visit it the day after the Sub Pop Silver Jubilee and, at least, I was nearly overwhelmed. The two music-related exhibitions they were running were Jimi Hendrix in London, and Nirvana: Taking Punk to the Masses. they also had literature, and Sci-Fi exhibits (our admission price included a pack of Magic: The Gathering cards), but were only interested in the music.

The museum is right next to the infamous Space Needle, and we couldn’t have asked for better weather. We started our tour meandering around the Hendrix exhibit. It had some pretty cool audio and video clips, and I got to get a picture if the guitar he used at Woodstock. It was definitely cool, but that wasn’t what we were there for.

Trying to find my way around, I stumbled onto the exhibit. Nirvana: Taking Punk to the Masses. It was everything I had hoped for and much, much more. There was so much there, I didn’t know where to begin. I ended up starting at the end – Unplugged. They had some of the guitars used, the set list, and a few tracks playing in the background.

Next for me, was the “In Utero” exhibit. They seemed to have a lot more items from this era. They had stage props, album covers, and, interestingly, the cases and trunks they used to transport what had become a pretty involved set by this point in the band’s history. After I took all that in, I moved to the next section – Nevermind. A lot of time and effort was put in to this part of the exhibit as most “experts” count 1991 as the year punk hit the masses due to the large popularity of “Smells Like Teen Spirit.” The displayed the guitar Kurt recorded most of “Nevermind” with, and had a huge display focusing on the items Kurt used in the now infamous “Smells Like Teen Spirit” video.

Kurt Cobain's Shirt from the Smells Like Teen Spirit Video

As much attention was given to the ground that was laid before “Nevermind” because, in reality, it’s almost more important. The experiences, the sounds, and the people help shape the band, challenged them musically, and it’s what helped shape “Nevermind” into what it became. There was an excess of really cool items from Kurt’s youth, not the least of which was the four track and suitcase “drum” he used to record “Fecal Matter” – the tape that convinced  Novoselic to form a band with him.  They also had early booking dates, carbon copies of checks, and their first contract for Sub Pop Records. The exhibit also included items from Kurt’s childhood such a painting he entered into his high school art fair.

Nirvana certainly was not the only band to come out of Seattle. The EMP Museum also included a display on the entire “Seattle Sound” scene, and gave a great overview of all the bands it produced. The EMP Museum paid homage to a moment in time that produced the greatest scene in the history of Rock and Roll (but I’m a little biased here!). Tough to say, at this point, if it will ever happen again, but you never know!

Poster from the First Performance of Smells Like Teen Spirit

 

P.S. While writing this, I was listening to the reissue of Soungarden’s Screaming Life/Fopp EP. Review to come…

Album Review: Nirvana In Utero 20th Anniversary Super Deluxe Edition

November 19, 2013

NirvanaIU

Like a phoenix rising from the ashes, The Grunge Rock Guru has returned! I have many, many new albums and music experiences, so I will have plenty to write about for a long time. So, without further ado,  let’s get started.

20 years ago (where does the time go??) Nirvana released their follow-up to the seminal “Nevermind” and it was titled “In Utero“. The album was released with a lot of fanfare as it was the first truly new music from Nirvana since the unexpected success of “Nevermind” and fans were clamoring for more. They tried to hold people over with a mix of B-Sides and other unreleased tracks in a pseudo-compilation album called “Incesticide”, but it didn’t work out like they hoped. Were early hit singles like “Heart-Shaped Box”, “Dumb”, and “Rape Me,” the album was poised for success, and it was – both commercially and critically. That was 1993.

Now, in 2013, DGC released the 20th Anniversary Super Deluxe Edition.  There were a few deluxe editions (the two CD version and the three LP version), but I went all out and got the three CD/DVD super deluxe versions, so I will focus on that one. The $150 price tag was a little steep, but I was really impressed with what they did with the super deluxe version of “Nevermind”, so there was little hesitation to pull the trigger. I was not disappointed.

It came with three CDs that had over 70 unreleased tracks, a DVD of the 1993 “MTV Live and Loud” concert (that I do not think has aired since the days right after Kurt died), a two-sided poster, and a 50+ page book. That was the first thing that I gravitated towards. The book started off with a four page fax (ask your parents) from “In Utero” producer Steve Albini. It really lays out his vision for the album and gives the reader insight to why the album sounds the way it does.  In today’s sea of over-produced records that hardly sound anything like what was actually recorded, this Albini quote from 1992 is still a breath of fresh air:

If a record takes more than a week to make, someone’s [expletive deleted] up.

The CDs it came with were great. CD 1 was simply the original album remastered (this was not counted towards the number of unreleased tracks) with 7 extra tracks, including some original Albini mixes for some popular songs. The remastering didn’t add much to the album, and it’s skippable if you are familiar with the original (and who wouldn’t be that has this set?). The Bonus tracks, however, are awesome. The Albini mixes of “Heart-Shaped Box” and “All Apologies” are as raw as can be. It matched Albini’s philosophy and his recording technique. CD 2 was interesting because it was a brand new mix of the original album. The mix was OK, but it took out things I have been used to hearing for 20 years.  They took out things like Kurt clearing his throat before “Pennyroyal Tea” and the cello out of “Dumb.” I can live without the throat clearing, but I was dumfounded as to why they took out the cello. It’s such an integral part of the song. The demos that were on this disc were also pretty cool because they included instrumental versions of songs like “Dumb” and “Frances Farmer Will Have Her Revenge on Seattle.”

The third CD was the soundboard audio from the “Live and Loud” concert. I was thrilled it was included because it is one of my favorite concerts of all time and it finally got a proper release. the CD had he entire televised concert as well as songs that were not included on the original telecast. The DVD of the “Live and Loud” concert was just awesome. It included all the songs that were on the CD, but added two versions of the famous “Heart-Shaped Box” video, and live performances from Italy, France, and a few songs what ended up being their last ever performance in Germany.

The celebration of “In Utero” is bittersweet in a way. On one hand, we get to celebrate a band who broke through the mainstream on their terms and changed the face music and pop culture. On the other hand, it is really the last flash of brilliance we got from a very talented song writer as well as a true end of an era, however short it was.

Nirvana Pt. 2

October 2, 2008

Once Dave Grohl was put into place they could start recording Nevermind. They started in Butch Vig’s Smart Studio in Madison, WI. The set up was low budget and so was the sound. Once they got cleared by their new label (Geffen) to rent a recording Studio they went over to Sound City in Van Nuys to record it on a more professional level. The did, however, use one track from the Smart Studio sessions on the final version of Nevermind – Polly. Soon after recording was completed, they filmed a video for their new song “Smells Like Teen Spirit”.

After filming they went on a tour of Europe and without the Internet in those days, they were oblivious to the kind of impact their song was making in the US. They were just happy touring. They were able to see album sales climb and they noticed that Smells Like Teen Spirit was in heavy rotation on the radio and on MTV. They came back to the States in October (after playing clubs in Europe) and they sold out Seattle’s Paramount Theater. They had arrived on the scene.

They hated the new fans that they attracted. The “Frat boys” that bullied kids like them were now listening to their music and buying their CDs. After a high demand for new music Nirvana released “Incesticide” which was a compiliation of B-Sides and other rare songs with limited release up to that point. In the liner notes, Kurt wrote a long diatribe about the fans that they did not want. They did not want racist or ignorant people buying their records.

By 1992, Nirvana was on top of the world. Nevermind had been Number one on the Billboard charts knocking off Michael Jackson and they were selling out arenas all over the country. When it came time to make their second record for Geffen, they were in the driver’s seat. They wanted to make a record with Fuzz Master Steve Albini who did most of his work for Touch and Go Records recording The Jesus Lizard.

They trekked up to Pachyderm Studios in Minnesota and recorded In Utero. The entire recording process lasted 2 weeks and Kurt laid the vocals down in one day. Early masters were very raw and Nirvana had them remixed by Scott Litt of REM fame. This caused a riff between Albini and Nirvana because while Nirvana claimed that the label balked at the tapes, Albini feel that Nirvana was the ones who did not like it. The album sold well and early concerts sold out. As the year went on crowds became slightly smaller.

Shows were not selling out until the day of the show andsome were not sellingout at all. Sales of In Utero started to decline. In an effort to pick up ticket and album sales, Nirvana agreed to an “Unplugged” concert for MTV. They wanted to take a different route than the previous concerts. Everyone played their hits like it was Madison Square Garden (paraphrasing Dave Grohl) and Nirvana wanted to do something different. They played mostly thier songs, but detoured a bit and played covers like “Man Who Sold the World”. They Introduced the world to the Meat Puppets when they covered “Plateau”, “Lake of Fire”, and “Oh, Me” (all of the Meat Puppets second record titled II). Kurt capped off the evening with a breathtaking version of Leadbelly’s “Where Did You Sleep Last Night”. Nirvana fever was reborn.

The return to success did not help Kurt at all though. His drug use was heavy and slipped into a coma in early 1994. They canceled a tour in Fbruary of 1994 due to Kurt’s laryngitis. Kurt checked himself into a rehab clinic in Los angeles. Sneaked out to get some cigarettes and never came back. His body was discovered in his Seattle homea few days later. He took his own life. He was 27.

Todd

Nirvana Pt. 1

September 16, 2008

Let me start out and state, in my opinion, there would be no Nirvana without the Melvins. Would Kurt have started a band? Probably. However, the chances of that band being with Krist Novosellic, and Kurt getting to record a demo would be extremely low had it not been for the Melvins. Now then, let’s dice right in.

The year was 1985. Kurt Cobain was in high school without hardly any friends and was being shuffled around relatives for a place to stay. He had heard of the band called the Melvins and went to a practice of theirs (a common hangout place for music people). He saw a really tall guy (6’7″) that he recognized from school. This guy was Krist and he listened to punk rock and could play bass guitar.

Kurt really wanted to start a band with Krist, but Krist showed little interest. He went down to Reciprocal Recordings with Dale Crover (100% of the reason Endido gave this Kurt guy the time of day) and they recorded a demo called “Fecal Matter”. Kurt gave this tape to Krist and he was finally convinced. All they needed now was a drummer.

They had simple requirements – someone who was willing to practice 5 days a week. They found a Chad Channing. He had a goofy drum set, and he didn’t do everything exactly the way Kurt would’ve liked him to, but he was there 5 days a week. Now that they had all the pieces in place, they were ready to rock.

They performed at a few clubs under numerous names (Skid Row, Pen Cap Chew…etc) until they finally settled on a name – Nirvana. They felt pretty confident about their songs and started shopping themselves around to labels. They sent tapes to Touch & Go, K Records, and Sub Pop. Sub Pop was the only label to bite and signed Kurt. They went into the recording studio with Jack Endido.

They recorded their first single, “Love Buzz” and wanted the song “Blandest” to be the B-Side. However, Endido thought the title resembled the song and balked. Nirvana decided to go with “Big Cheese” instead. So the first installment of the Sub Pop Singles Club was Nirvana’s Love Buzz b/w Big Cheese. the 7 inch vinyl’s were hand numbered to 1000 and were quickly snatched up. Nirvana was pissed because they were at shows and people wanted their stuff, but they had nothing to give them. the ploy worked though because there was so much demand that when Bleachwas finally released, there was a lot of underground hype for it.

When Nirvana was recording Bleach, they had to come up with $606 dollars to pay Endido for the studio time. Well, being completely broke, Nirvana did not have that kind of money. Enter Jason Everman. They struck a deal with Everman. If he paid the money, he could join their band. They even gave him a guitar credit on Bleach despite not playing on it. After Bleach came out, they went on tour to promote it. They were living their dream. Kurt noted that the tour was great, but wouldhave been better if “Jason wasn’t such a prick”. Everman was kicked out of the band shortly after the Bleach tour.

After the Bleach tour, they had another problem. They grew increasingly frustrated with Chad Channing, so they wrote him a letter effectively kicking him out of the band. So now they had no drummer again. They played shows with Dan Peters, but h had to go back to Mudhoney. They played some shows with Dale Crover, but he had to go back to the Melvins. They let Aaron Bruckhard play with them, but he still wasn’t what they were looking for. Buzz, from the Melvins knew a guy.

DC Punk band, Scream, was touring LA and their band literally fell apart, and they broke up in Los Angeles. Kurt called their drummer, Dave Grohl, and told him to come to Seattle to be in their band. Grohl had nothing to lose so he went up to Seattle. He was everything Nirvana was looking for in a drummer, and now in 1990, 5 years after “Fecal Matter”, they were complete.

To be continued…

Todd

The Doors

August 27, 2008

The combined elements of the Doors’ music has transcended time and place to become more than a relic of American psychedelic sound. A ceremonial tone in John Densmore’s tribal drumming — both earthy and jazzy — evoked the mysticism and carnal pleasure of Sunset Strip’s Sea Witch. This held the rhythm for Ray Manzarek’s jazz/R&B organ (shot direct from Mother Neptune’s Coffeehouse) and the Insomniac brew of Robby Krieger’s nimble flamenco guitar lines, mixed with crunchy garage-band chords. But it was the baritone tremolo and lusty howl of Jim Morrison’s vox that took the music of the Doors to a subconscious level. Long after the shimmering klieg lights of L.A.’s psychedelic era went out, the Doors’ music continued to influence sub-culture on record.

By 1977, New Jersey’s the Misfits debuted their own brand of keyboard-driven psychotronic punk at Greenwich Village’s CBGB’s club. The single “Cough/Cool” b/w “She” featured somber, poetic prancing akin to the Doors’ earliest hits, while infusing an experimental art-rock indicative of the times. The Misfits glamourized sex and violence, as their increasingly guitar-driven sound pointed to a bleak, dystopian world at the dawn of Ronald Reagan’s presidency. As their brooding style began influencing the oncoming swarm of ’80s goth-rock, Misfits singer Glenn Danzig moved away from the B-horror garaginess of their best material, instead preferring the nascent death metal sound popular by the mid-’80s.

Britain’s Ian Astbury and Billy Duffy launched their band, the Cult, in the early ’80s, offering up a new-wave/goth sound that was heavily influenced by Native American mysticism. The Cult’s 1984 singles “Spiritwalker” and “Go West (Crazy Spinning Circles)” hit big enough to launch a revived interest in the type of sex/death/rebirth gravity that had critics talking about the ’60s Doors sound again. Jerry Hopkins and Danny Sugerman’s book No One Get Out of Here Alive (1980) had already launched Morrison and the Doors into popularity with a whole new generation. The book would be adapted for the big screen in 1991 with Oliver Stone’s The Doors, and the Cult’s Ian Astbury would later front a ’90s Doors reunion, but neither were viewed as being inspired on the level of the book or earliest Cult records. The indie-spirit of neo-psychedelic, however, had more authentic offerings on the horizon.

In 1986, Seattle’s Screaming Trees unleashed the DIY garage-psych LP Clairvoyance — a foretelling of the ’90s grunge explosion, iconoclastic and haunting all at once. The Middle-Eastern flair of Gary Conner’s guitar on “Standing on the Edge” laid the perfect backdrop for singer Mark Lanegan’s baritone intensity. It wasn’t until Pearl Jam’s 1993 Vs. album that another Seattle act would equal the raw absorption of Calirvoyance. Eddie Vedder’s passion and self-conscious immediacy on Pearl Jam numbers like “Dissident” and “Indifference” harkened back to the crunch-chord spontaneity of the best of the Doors. That same year, Glenn Danzig’s eponymous band had a surprise MTV hit with a live version of “Mother” (originally on their 1988 debut LP), though at this point, his sound was so far gone into death metal that it would doubtless fail to connect with anyone searching for the everyman blues of the Doors sound. Worse yet was the baritone banality of mainstream alternative bands like Stone Temple Pilots, and later, Creed. But by this time, there was a feeling that the sexual, good-time exploration of the Doors’ initial influence had reached a corporate rock nadir. The Sunset Strip’s mid-’60s inspiration continues to this day, but its purity in music has gone underground, as with most of the best sounds in rock, post-alternative.

Brian Chidester

Nirvana…on Vinyl

May 7, 2008

Recently, I was able to purchase a record player at a flea market, and I got it hooked up and ready to play records. Only one problem. The only record I owned was a scratched up Leadbelly record my brother bought for me a few years ago for $1.99. Quite the steal, if you ask me. So, as you can see, I needed to build my vinyl collection up from nothing. I went to my local record store, that has one of the widest selections of any record store in the country. I went to the vinyl section and searched for the Nirvana sub section. To my surprise they had new copies of the “Bleach” album (the one that most people don’t own). So I snatched it up, even though I already had it on CD. I got a few more Jazz LPs and called it a night and went home.

When I got home I went into my room and dropped the needle on “Bleach”. I was blown away. The sound was so rich and full I felt like they were in my room. Sub Pop’s use of the 180 Gram Vinyl was a stroke of genius because it provides the best sound possible. A regular vinyl already provides a better sound than CDs, but the thicker vinyl gets better grooves and the needle picks them up better. The only way the sound could have been better would to be on the needle picking up the vibrations myself.

Sound ranges I had never heard on “Bleach” before came in crystal clear. Tracy Marander’s front cover photo is so detailed on the 12 inch cover. The inner circle art on Side A gives us the old school Nirvana logo they used before adopting their infamous logo for the “Bleach” release. Side B has the artwork for The Seven Layers of Hell from Dante’s Inferno. The ONLY drawback to this vinyl is that it does not include “Big Cheese” or “Downer”. I did not expect it to have “Downer” because it was not included on the original pressings of the vinyl, tape, or CD of “Bleach”, but I would have liked “Big Cheese” especially since it was the B-Side to their first single. Oh well, still highly recommended.

Todd


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