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Nirvana -Studio Albums & Singles plus BOX SET

If the last vast amount of Nirvana music wasn’t enough, here’s more!

Here we have again all their Studio Albums & Singles plus the great With The Lights Out BOX SET.






In Utero

Unplugged In New York

From The Muddy Banks Of The Wishkah


Albums Front & Back Covers

With The Lights Out (3CD + DVD Box-Set)





Pass for BoxSet :


Come As You Are

Heart-Shaped Box

In Bloom


All Apologies

Smells Like Teen Spirit

Singles Covers

all thanks to iraklis and original posters

August 21, 2008 Posted by | Hole, Music_Alternative, Music_Punk, Nirvana, William S. Burroughs, _MUSIC | Leave a comment

Nirvana – Complete Discography and a shitload of bootlegs etc

More Nirvana music than you could ever ask for, and then some!!

From the excellent

Although, without doubt, their music has been greatly over-rated, and a lot of clear “influences” can be sen in their music (Pixies could have sued them in court!!), they were a real breath of fresh air for the stale, bloated music-biz.
Early NirvanaThe teen spirit that is always a component of the ether can hover for years without coalescing into anything more than a haze — that vague, uneasy, something-in-the-air feeling rising like swamp gas as a byproduct of living young and unsteady in a hostile world that hasn’t yet made its intentions clear. But it can also go off with a spectacular atmospheric bang. The catalysts that ignite such cultural explosions rarely survive the experience, and the havoc they instigate is invariably all out of proportion to their efforts. But the changes so wrought can be vast, leveling the land and ushering in an era to which old rules no longer apply.

That said, Bleach is not quite the sound of music’s past being sent to its belated grave. Despite traces of catchy melodicism (About a Girl), a versatile screamer and a superior grip on dynamics to temper the thick, molten aggression (learned from dark ’70s metallurgists via the Melvins), Nirvana’s debut is a punk album of its time, class and place. This late-’80s aftershock of indie rock’s dare-to-be-ugly thuggery and meaninglessness was grounded in a hope-free slacker/lumpenproletariat lifestyle, and forged too far from any influential music capitals to bother with pretenses of cool or the need to be self-conscious about sounding like Golden Earring (something the group does on Love Buzz before unleashing a furious feedback raveup). Faced with the option of hate-you/hate-me lyrics, Aberdeen-born singer/guitarist Kurdt Kobain (as he chose to misspell his name on the cover) opted for the latter, declaring himself a Negative Creep and seeing his worthlessness reflected in someone else’s eyes (Scoff).

Nevermind Era NirvanaThe trio that made Nevermind two years later had a lot more to show and say for itself. Cobain had developed prodigiously as a songwriter, and had located the lull’em/slaughter’em power switch, which became Nirvana’s most influential signature. His haphazard lyrics — often disconnected fragments strung together at random, as much a social statement in structure as content — were like an alphabet slate, ideal for disaffected youth to adopt, interpret and take as personally as they needed to. Nevermind has it all: anger, humor, tunes, power, subtlety, venom, pity, slickness, slackness, stupidity, screams, whispers, insight, allure, repulsion, clarity, confusion — and sheer genius.

Blasting away in huge power-chord slabs sheepdogged by Novoselic’s potent bass figures and supercharged by Grohl’s rhythmic might, the songs don’t reinvent the wheel, but they do send it careening down a modern highway without a care in the world. Rejecting the most holy of values in Stay Away, Cobain sings “I don’t know why I’d rather be dead than cool,” and that’s a liberating breakthrough in itself. An intricate and convoluted mesh of ideas and influences wrapped around a brick going through a window, Nevermind is the subconscious of a troubled mind given a monumental and compelling airing. The dozen songs (thirteen, counting the seven-minute unlisted vamp known as Endless, Nameless) accumulate into a barreling boulder. But they also exist in individual vacuum-packed universes, and many don’t bear up to close scrutiny. For all its perception and celebration as an anthem, Smells Like Teen Spirit — a four-chord sizzlefest loaded with quizzical tributes to alienation and anomie — is ill suited to the office. It has a less grabby chorus than In Bloom (an arrogant and condescending attack on the kind of fan who “likes all our pretty songs…but he don’t know what it means”) or even Drain You, which reconfigures the “Teen Spirit” chord structure to much better effect. Between the general Scratch Acid screech, the Killing Joke menace of Come as You Are and the slithery Melvins bottom distortion of Breed, Nirvana might be seen here as the bristling sum of its record collection, but the raw power and the originality of Polly, the gorgeous, cello-haunted Something in the Way, the drum-rolling Stay Away and the swinging, lightfooted Lounge Act truly come from within. Ultimately, though, it’s not really the track-by-track merits of Nevermind that matter.

By whatever confluence of circumstances, strategies, talent and luck aligned in the fall of 1991, Nevermind — defying all expectations — became a multi-million-selling phenomenon, indisputable proof that kids would buy music that moved them even if it came with all the fuck-the-mainstream characteristics that always defined punk out of broad acceptance. Like the ‘77 new wave explosion without the inevitable wipeout, Nevermind turned the ’90s — for better and much worse — into the “alternative” decade, a time when no musical exponent was presumed too outlandish for commercial consideration. That Nirvana — in fact, Nevermind — was a one-off explains why so much of what floated in with the subsequent backwash is so bad; that’s what floodgates are for in the first place. Still, as a sweeping colonic, the album became — alongside That’s All Right, Maybellene, The Times They Are a-Changin’, I Want to Hold Your Hand and Anarchy in the UK — one of the most epochal pieces of plastic in rock’n’roll history.

Nirvana (In Utero)Hormoaning, issued in Japan and Australia to promote a Pacific Rim tour in early ‘92, consists of six tracks, none of which had been on LP at the time. The covers of songs by Devo (Turnaround), the Wipers (D-7) and the Vaselines (Molly’s Lips and Son of a Gun) come from a 1990 John Peel session. The band’s own Aneurysm and Even in His Youth were lifted from the Smells Like Teen Spirit CD single. Most of Hormoaning wound up on Incesticide, the rarities compilation released in lieu of a Nevermind follow-up in ‘92. The fifteen-track set contains a B-side from the Blew EP (Stain) and both studio tracks from the Sliver EP (Sliver” and “Dive); there’s a different version of Aneurysm, a fast, electric (New Wave) Polly and Been a Son from a second BBC radio session, previous compilation tracks (Beeswax and Mexican Seafood) and vault excavations.

1993 brought In Utero and captures the group in a downward spiral of confusion and instability. (A couplet from Territorial Pissings — “Just because you’re paranoid/Don’t mean they’re not after you” — aptly describes the self-absolving principle driving the process.) Unlike Nevermind’s relative unselfconsciousness, a jittery sense of being caught by jailbreak floodlights afflicts nearly every track, starting with the overt acknowledgment of Teen Spirit in Rape Me. The content is rough and damaging: Serve the Servants (”Teenage angst has paid off well/Now I’m bored and old”), Dumb (”I think I’m dumb/Or maybe just happy”), Rape Me (”Hate me/Do it and do it again”), Milk It (”I am my own parasite”) and All Apologies (”Everything’s my fault/I’ll take all the blame”) all open ragged and bloody wounds of self-loathing. Musically, the record is likable in fits and starts. Serve the Servants, Heart-Shaped Box, the horrific Rape Me, the stunning All Apologies and the feedback-splayed Frances Farmer Will Have Her Revenge on Seattle muster reliably appealing structures. But driller-killers like Scentless Apprentice, Very Ape, Milk It, Tourette’s and Radio Friendly Unit Shifter are explosions of malignant sound rather than vision. The album ends in a round refrain of “All in all is all we are” — a suitably enigmatic (or meaningless, take your pick) coda to what would prove to be the band’s studio finale.

Nirvana UnpluggedTwo months after the release of In Utero, Nirvana taped an episode of MTV Unplugged. Having frightened off some of its fans with holy-terror noise, the group must have relished the thought of rattling punk traditionalists — at least those who had already forgotten the sound of Nevermind’s Something in the Way — with its antithesis. (Paying back the media agency of their initial stardom probably wasn’t a bad hedge, either, especially after In Utero’s predictable sales shortfall.) A year later, by which time it was obliged to serve as Nirvana’s epitaph, the show’s soundtrack was released as MTV Unplugged in New York. Taking advantage of the opportunity, the trio — augmented by guitarist Pat Smear (the ex-Germ punk veteran who had joined Nirvana as a touring member in 1993), cellist Lori Goldston and two-thirds of the Meat Puppets — used it to publicly explore other facets of its creative desires. Cobain’s singing is frequently stretched to the breaking point, which only underscores the unguarded atmosphere of this daring triumph. A gentle infusion of air, delicacy and baronial grace illuminates appropriate selections from all three preceding albums (About a Girl and All Apologies yes, Teen Spirit no). Meanwhile, covers of songs by David Bowie (The Man Who Sold the World), the Meat Puppets (a trilogy of evidently unsingable tunes from the Arizona band’s II album), Vaselines (Jesus Doesn’t Want Me for a Sunbeam) and Leadbelly (Where Did You Sleep Last Night, a folk standard also known as “In the Pines”) extend the band’s stylistic reach well beyond the constipated brutality of punk. Nirvana had bootstrapped itself to a new plain.

Kurt Cobain died from a self-inflicted shotgun blast at home in Seattle in April 1994. In 1996, the yang to Unplugged’s yin, From the Muddy Banks of the Wishkah was released. The album is a raging full-on live compilation of tracks recorded on various stages in American and Europe between 1989 and 1994 and assembled by Grohl and Novoselic. The versions of Polly and Breed predate Grohl and so feature drummer Chad Channing; among the surprise songs are Spank Thru, a forgotten Sub Pop compilation item from 1988, and Sliver.

Prior to Nirvana, alternative music was consigned to specialty sections of record stores, and major labels considered it to be, at the very most, a tax write-off. After the band’s second album, 1991’s Nevermind, nothing was ever quite the same, for better and for worse. Nirvana popularized punk, post-punk, and indie rock, unintentionally bringing it into the American mainstream like no other band to date. While their sound didn’t always reflect it, Nirvana’s aesthetics were strictly indie rock. They covered Vaselines songs, they revived new wave cuts by Devo, and Cobain relentlessly pushed his favorite bands — whether it was the art punk of the Raincoats or the country-fried hardcore of the Meat Puppets — as if his favorite records were always more important than his own music. While Nirvana’s ideology was indie rock and their melodies were pop, the sonic rush of their records and live shows merged the post-industrial white noise with heavy metal grind. And that’s what made the group’s legacy stands as one of the most influential in rock & roll history.

Studio Releases:

  • Nirvana – Bleach: RS | MU
  • Nirvana – Nevermind: RS | MU
  • Nirvana – Incesticide: RS | MU
  • Nirvana – In Utero: RS | MU
  • Nirvana – Unplugged In New York: RS | MU
  • Nirvana – From The Muddy Banks Of The Wishkah: RS | MU
  • Nirvana – Nirvana: RS | MU
  • Nirvana – Silver: The Best of the Box: RS

Singles & EPs:

  • Nirvana – About A Girl CDS: RS
  • Nirvana – All Apologies CDS: RS | MU
  • Nirvana – Come As You Are CDS: RS | MU
  • Nirvana – Heart-Shaped Box CDS: RS | MU
  • Nirvana – Hormoaning EP: RS | MU
  • Nirvana – In Bloom CDS: RS | MU
  • Nirvana – Lithium CDS: RS | MU
  • Nirvana – Love Buzz 7″: MF
  • Nirvana – Pennyroyal Tea CDS: RS
  • Nirvana – Sliver CDS: MF
  • Nirvana – Smells Like Teen Spirit CDS: RS | MU
  • Kurt Cobain & William s. Burroughs – The Priest They Called Him CDS: MF

Box Sets (Official & Bootlegs):


  • Nirvana – All Acoustically: RS1 | RS2
  • Nirvana – Asshole: RS
  • Nirvana – Banned For Life: RS1 | RS2
  • Nirvana – Before and After the Storm: RS1 | RS2
  • Nirvana – Bleach Out! Break Out!: RS
  • Nirvana – Blind Pig Beginnings: RS
  • Nirvana – Brandles Vous: RS
  • Nirvana – Christmas In Seattle: RS
  • Nirvana – Come As You Are: RS
  • Nirvana – Cracker: RS
  • Nirvana – Digital Nirvana: RS
  • Nirvana – Dressed For Success: RS
  • Nirvana – From the Muddy Banks of the Murray: RS
  • Nirvana – The Eternal Legacy: RS
  • Nirvana – Fecal Matter Demo: RS
  • Nirvana – First American Concert: RS
  • Nirvana – First Concert In History: RS
  • Nirvana – The First Night: RS
  • Nirvana – Heart Shaped Rome (a.k.a XXII II MCMXCIV): RS
  • Nirvana – John Peel Sessions: RS
  • Nirvana – Last Concert In Japan: RS
  • Nirvana – The Last New Years Eve: RS1 | RS2
  • Nirvana – Last Valentine: RS
  • Nirvana – The Masquerade: RS
  • Nirvana – MTV Video Music Awards ‘92: RS
  • Nirvana – OK Hotel!: RS
  • Nirvana – On a Plain: RS
  • Nirvana – Pachyderm Studios Session: RS
  • Nirvana – Playing at the Moon: RS
  • Nirvana – Plugged: MU
  • Nirvana – Rape Me Again: RS
  • Nirvana – Reading Festival: RS
  • Nirvana (With Hole) – Rock Against Rape: RS
  • Nirvana – Roma: RS
  • Nirvana – San Fransisco 1993: RS1 | RS2
  • Nirvana – Seattle 1988: RS
  • Nirvana – Stiff Drinks: RS
  • Nirvana – Suicide Solution: MU
  • Nirvana – Tonight With Jonathan Ross: RS
  • Nirvana – Trick Or Treat: RS
  • Nirvana – Under the Milky Way: RS

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August 21, 2008 Posted by | Hole, Music_Alternative, Music_Punk, Nirvana, William S. Burroughs, _MUSIC | 2 Comments