Nirvana Nevermind CD

22 track collection of previously unreleased songs & demo versions of others recorded between 1969-1970. Includes 'Love You 'Til Tuesday', 'That's A Promise', 'Silly Boy Blue', 'Over The Wall We Go', 'When I Live My Dream' and Let Me Sleep Beside You'. 1997 SPQR Records release. The full title is 'The Forgotten Songs Of David Robert Jones'.

Nirvana: Kurt Cobain (vocals, guitar); Chris Novoselic (vocals, bass); David Grohl (vocals, drums).
Additional personnel: Kirk Canning (cello).
Recorded at Sound City, Van Nuys, California.
Personnel: Kurt Cobain (vocals, guitar); Dave Grohl (vocals, drums); Krist Novoselic (vocals); Kirk Canning (cello).
Audio Mixers: Craig Doubet; Andy Wallace.
Recording information: Sound City Studios, Van Nuys, CA.
Photographers: Kirk Weddle; Michael Lavine; Kurt Cobain.
Unknown Contributor Role: Kirk Canning.
Nevermind was never meant to change the world, but you can never predict when the zeitgeist will hit, and Nirvana's second album turned out to be the place where alternative rock crashed into the mainstream. This wasn't entirely an accident, either, since Nirvana did sign with a major label, and they did release a record with a shiny surface, no matter how humongous the guitars sounded. And, yes, Nevermind is probably a little shinier than it should be, positively glistening with echo and fuzzbox distortion, especially when compared with the black-and-white murk of Bleach. This doesn't discount the record, since it's not only much harder than any mainstream rock of 1991, its character isn't on the surface, it's in the exhilaratingly raw music and haunting songs. Kurt Cobain's personal problems and subsequent suicide naturally deepen the dark undercurrents, but no matter how much anguish there is on Nevermind, it's bracing because he exorcises those demons through his evocative wordplay and mangled screams -- and because the band has a tremendous, unbridled power that transcends the pain, turning into pure catharsis. And that's as key to the record's success as Cobain's songwriting, since Krist Novoselic and Dave Grohl help turn this into music that is gripping, powerful, and even fun (and, really, there's no other way to characterize "Territorial Pissings" or the surging "Breed"). In retrospect, Nevermind may seem a little too unassuming for its mythic status -- it's simply a great modern punk record -- but even though it may no longer seem life-changing, it is certainly life-affirming, which may just be better. ~ Stephen Thomas Erlewine
A few years after the matter, even the album cover appears vaguely symbolic: an innocent babe, braving the hazards, lunging for the seductive prize at the end of a hook. Few would've given good odds that the youngster would actually be able to snatch the green, swim back to shore, and laugh triumphantly in the fisherman's face; and history has made fools of those who thought it couldn't be done. NEVERMIND not only gave Nirvana the prize the band had reached out for, it included some epic consequences in the bargain--raising the Seattle grunge trio to the status of Godhead, and forever changing the face of the pop music market.
As ground-breaking albums go, NEVERMIND seemed expressly designed for a post-modern existence. The punk energy and aesthetic ("Territorial Pissings," "Drain You") were its lifeblood; melody, harmony and structure ("Something In The Way," "Come As You Are") were its selling points; the roaring guitars and sub-conscious intellect ("Smells Like Teen Spirit," "In Bloom") were its heart and soul. Nobody had come up with an album like NEVERMIND before, because no one could conceive of an album like it--not since Husker Du had broken up, anyway.
But the place where NEVERMIND struck the most firmly and personally was in the gut. Cobain's throaty roar, mumbled speech, fumbled appearance all confirmed that he was of us, with us, and for us; his gift for combining melodies with acerbic insights showed that he was unlikRolling Stone (5/13/99, p.50) - Included in Rolling Stone's "Essential Recordings of the 90's."
Spin (9/99, pp.114-5) - Ranked #1 in Spin Magazine's "90 Greatest Albums of the '90s."
Spin (12/91) - Highly Recommended - Ranked #3 in Spin's list of the 20 Best Albums Of 1991.
Entertainment Weekly (Spring 2000, p.166) - Ranked #1 in EW's "Top 10 albums of the '90s" - "...[It] continues to spew a molten-lava stream of melody, primal force, and passion..."
Q (10/01, p.106) - Ranked #3 in Q's "Best 50 Albums of Q's Lifetime"
Q (12/99, p.70) - Included in Q Magazine's "90 Best Albums Of The 1990s."
Q (1/92) - Included in Q Magazine's list of the 50 best albums of 1991.
Alternative Press (7/95, p.75) - Ranked #1 in AP's list of the `Top 99 of '85-'95' - "...this Seattle trio, for better or for worse, actually deserved the literal heaps of attention that pursued them. ...[Nirvana] broke into and stole the hearts of this generation because Sir Cobain could write an incredibly catchy song...[with] lyrics that were not shallow treatises..."
Vibe (12/99, p.160) - Included in Vibe's 100 Essential Albums of the 20th Century.
Melody Maker (12/91) - Ranked #5 in Melody Maker's list of the top 30 albums of 1991 - "...aching melodies...fearsome metallic attack...An album which penetrated all the way to the heart of America's metal homeland..."
Melody Maker (12/91) - Ranked #5 in Melody Maker's list of the top 30 albums of 1991 - "...aching melodies....fearsome metallic attack....An album which penetrated all the way to the heart of America's metal homeland..."
Q (Magazine) (p.122) - "[A] blissful union of corrosive riffs and bubblegum melodies....Singles such as 'Come As You Are' and 'Smells Like Teen Spirit' brought a rarely heard punk influence into the mainstream."
New York Times (Publisher) (1/1/92) - "...The culmination of 10 years of post-punk, and a reinvention of the style for a new generation....Smart, sarcastic rock, noisy and catchy and unabashedly confused, that zoomed from a collegiate cult following into the Top 10 without a hint of appeasement..."
NME (Magazine) (10/2/93, p.29) - Ranked #12 in NME's list of the `Greatest Albums Of All Time.'