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10 songs the ‘Mad Men’ shouldn’t touch

10 songs the ‘Mad Men’ shouldn’t touch

January 29th 2009

There’s nothing more tired at this point than bitching about stars selling out their songs to Madison Avenue.

That battle is so last century.

Still, every so often a star’s shill retains the rare ability to bring up the bile.

For many, that moment will surely come when they hear about Bob Dylan selling his seminal ode “Blowin’ In The Wind” to a British company that pushes food stores, funeral homes, and financial services.

Of course, the company in question issued a lot of blather about their ethical concerns and progressive views. But, face it, it’s still a business and it’s still “Blowin’ In The Wind,” fer’chrissakes.

With that in mind, I’ve come up with ten songs most likely to make the public apoplectic should they be reduced to ads for adult diapers or sex-enhancement pills:

1) “Mother” John Lennon: The ultimate protest against hypocrisy from the angriest ex-Beatle just won’t do as a plug.

2) “Mercedes Benz” Janis Joplin: Actually, this satire of car-lust and rampant materialism already has been used in an ad – to sell Mercedes, no less.

3) “Volunteers of America” Jefferson Airplane:A song calling for the overthrow of the American government wouldn’t exactly sit right on Madison Avenue would it?

4) “Revolution” The Beatles: Another anti-conformity anthem that, again, has already been subverted in a Nike ad. Blame Michael Jackson, who held the rights to the catalogue at the time.

5) “Born to Run” Bruce Springsteen: Let’s just hope it never turns up as a car spot.

6) “God Save The Queen” Sex Pistols: One of the most deliciously nasty hits in history needs to keep its fangs unsullied and sharp.

7) “Smells like Teen Spirit” Nirvana: Can you imagine just how many somersaults Kurt Cobain’s body would do in his grave should this happen?

8) “People Get Ready” Curtis Mayfield and The Impressions: One of the most stirring civil rights anthems in history needs to stay pure.

9) “Won’t Get Fooled Again” The Who: It’s bad enough that it turned up as a theme song in a nighttime drama. We couldn’t take any deeper desecration.

10) “The Times They Are a Changin'” Bob Dylan: The irony would cut too deep.

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January 30, 2009 Posted by | Bruce Springsteen, John Lennon, Nirvana, The Beatles, _ARTICLE, _BOB DYLAN, _MUSIC | Leave a comment

Krist Novoselic recalls the craziness of the 1992 MTV bass toss incident

Krist Novoselic, the former Nirvana bassist turned outspoken political advocate, has been blogging for a year for the Seattle Weekly. On the one-year anniversary of the column, Krist recalled perhaps his most notorious moment in the band (as opposed to Kurt Cobain, who had many).

A perfect Thanksgiving tale, the story of Novoselic’s infamous botched bass toss at the 1992 MTV Music Video Awards involves everyone from Kurt Cobain and Courtney Love to Brian May, Duff McKagan, and—yes—Axl Rose.

No summary could do the piece justice, but let me try: first off, Courtney Love had pissed off Axl Rose by claiming he was Francis Bean’s godfather, to which Axl told Kurt to “keep his woman in line.” Then, Kurt told MTV they were going to play “Rape Me,” which burst the blood vessels in MTV’s collective forehead. Nirvana eventually agreed to play “Lithium,” while playing the first few chords of “Rape Me” at first just to prank MTV. Then, Krist’s bass was plugged into an crappy amp that made an ungodly noise, so Krist, after multiple beers and a strange encounter with Duff, decided to do a bass toss. He claims this is the one time he actually didn’t catch the bass. Though he was not seriously injured (despite a bleeding forehead), Krist played it up for show, and crawled off stage. As paramedics came, they were cleared away by Queen’s Brian May, who simply offered Novoselic champagne. End of story.

If that doesn’t sound like a wild enough night for you, read Novoselic’s full account of the evening. It’s definitely worth your time. And in case you haven’t seen the incident: enjoy:


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November 22, 2008 Posted by | music_Grunge, Nirvana, _MUSIC, _VIDEO | Leave a comment

The Grunge Years – A Sub Pop Compilation

The Grunge Years – A Sub Pop Compilation

Some great tracks on this Sub-Pop compilation of acts grouped under the lazy “grunge” description! A few tracks, less so!

What strange cover-art !


1. Nirvana – Dive (3:52)
2. L7 – Shove (3:11)
3. Tad – Stumblin’ Man (3:36)
4. Beat Happening – Red Head Walk (2:08)
5. Mark Lanegan – Ugly Sunday (3:55)
6. Screaming Trees – Change Has C (3:18)
7. Soundgarden – Birth Ritual (6:08)
8. The Fluid – Tomorrow (2:39)
9. The Afghan Whigs – Retarded (3:24)
10. Babes in Toyland – House (3:34)
11. Mudhoney – Come to Mind (4:50)
12. The Walkabouts – Long Black Ve (5:00)
13. Love Battery – Between the Eye (4:26)
14. Dickless – Saddle Tramp (1:35)

Here she be:

The Grunge Years – A Sub Pop Compilation

No password

Big thanks to

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October 21, 2008 Posted by | Mark Lanegan, Mudhoney, Music_Alternative, music_Grunge, Nirvana, Screaming Trees, The Afghan Whigs, _MUSIC | Leave a comment

Dylan / Leadbelly / Nirvana/ Cobain / Lanegan – Where Did You Sleep Last Night (aka In The Pines)

Bob Dylan/ Leadbelly / Nirvana/ Kurt Cobain / Mark Lanegan – Where Did You Sleep Last Night (aka In The Pines)
Mp3 / Various kbps – see below
1 RAR / RS / 32 MB
Bob Dylan – In the Pines (Live)
Carnegie Chapter Hall, NY November 4, 1961
128 Kbps, 7.8 Mb, 00:08:33
from the bootleg Dylan’s Roots
Leadbelly – Where Did You Sleep Last Night
224 Kbps, 4.85 Mb, 00:03:02
From the Leadbelly collection Absolutely The Best
Kurt Cobain- Where Did You Sleep Last Night (acoustic)
320 Kbps, 5.9 Mb, 00:02:32
A solo Cobain home demo of the song, recorded in 1990, from the 2004 box set,
With the Lights Out.

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Nirvana – Where Did You Sleep Last Night
192 Kbps, 7.1 Mb, 00:05:09
From the NYC Unplugged album

Mark Lanegan – Where Did You Sleep Last Night
192 Kbps, 5.6 Mb, 00:03:59
From the 1999 LP The Winding Sheet

Black girl, black girl, don’t lie to me,
where did you stay last night?
This powerful, timeless, traditional classic is best known via the scintillating version from Kurt Cobain in Nirvana’s 1993 MTV Unplugged in NYC show.

Topmost amongst the highlights of that show was the very intense performance by Kurt Cobain of Leadbelly’s version of Where Did You Sleep Last Night.

Could Kurt perhaps have been making the lyrics autobiographical and been referring to a certain skank to whom he was attached?! Course not!

“Where Did You Sleep Last Night” was actually performed live by Nirvana a few times during the early 1990s.

Cobain was introduced to the song by his pal Mark Lanegan (formerly of Seattle’s excellent Screaming Trees), and Kurt even played guitar on Lanegan’s version! Like Lanegan too, Cobain usually screamed the song’s final verse. Imitation is the best form of flattery!

Cobain earned critical and commercial acclaim for his acoustic performance of the song during Nirvana’s MTV Unplugged appearance in 1993. This version was posthumously released on the band’s MTV Unplugged in New York album (and as a B-side on their recalled “Pennyroyal Tea” single) the following year.

A solo Cobain home demo of the song, recorded in 1990, appears on Nirvana’s 2004 box set, With the Lights Out. It does not feature the final screamed verse of later versions.

An electric version of “Where Did You Sleep Last Night” was recorded by Mark Lanegan in August 1989 and appears on his 1990 debut solo album, The Winding Sheet. Catch this track in the vid below at the end of the post. Also in the composite RAR below. Also here; Mark_Lanegan- Sleep_Last_Night.mp3

In 2006 the Twilight Singers toured with Lanegan as guest vocalist and performed the song live several times. Catch the Twilight Singers with Laneganthis performing this track in the vid below at the end of the post.

This classic Appalachian traditional song is more properly called “In the Pines“.

“In the Pines” – also known as “Black Girl” and “Where Did You Sleep Last Night?” – is a traditional American folk song which dates back to at least the 1870s, and is believed to be Southern Appalachian in origin.

Over the years, the song has been sung by countless singers and has been recorded by many dozens of artists in numerous genres and in numerous versions.

The identity of the song’s original author is unknown. In fact the song has undergone so many mutations and transformations that, like many traditional songs, it does not, nor could not, have one person to whom authorship could properly be ascribed.

However, Kurt Cobain attributed authorship to Huddie William Ledbetter (January, 1888 – December 6, 1949) – better known as Leadbelly – who had recorded the song several times, beginning in 1944.

Nevertheless, the fact is that all the kernel elements of the song were written years before Leadbelly ever heard it – even years before Leadbelly was born!

Interestingly, and bizarrely, though, it does appear that Leadbelly did somehow manage to obtain legal copyright on the song!

Leadbelly did make small adaptations to certain versions of the song that had thertofore circulated to form his own version of the old song. However, the the version performed by Leadbelly (and covered by Mark Lanegan and Nirvana etc.) does not differ at all substantially from other, far older variants of the song, which, like Leadbelly’s, are performed in 3/4 time.
Bob Dylan, especially in his earliest days on the folk circuit, has performed “In the Pines” a number of times at his shows. The track also appears on a number of different Dylan bootlegs but a Dylan version was never officially recorded or released.

The version below is from a Dylan show at Carnegie Chapter Hall, NY November 4, 1961, as captured on the wonderful early Dylan bootleg Dylan’s Roots.

Dylan’s version is strongly based on Leadbelly’s with some small changes to the lyrics.

As referred to, this traditional Appalachian song dates back to the 1870s – most probably earlier – and, like countless other folk songs, “Where Did You Sleep Last Night” was passed on from one generation and locale to the next by word of mouth.

Lyrics in some versions about “Joe Brown’s coal mine” and “the Georgia line” may date it to Joseph E. Brown, a former Governor of Georgia, who famously leased convicts to operate coal mines in the 1870s.

Over time the song evolved and acquired numerous variants, none of which are definitive.

The first printed version of the song, compiled by Cecil Sharp, appeared in 1917, and comprised just four lines and a melody.

The Cecil Sharp lines are:

Black girl, black girl, don’t lie to me
Where did you stay last night?
I stayed in the pines where the sun never shines
And shivered when the cold wind blows

In 1925, a version of the song was recorded onto phonograph cylinder by a folk collector. This was the first documentation of “The Longest Train” variant of the song.

This variant includes at least one stanza about “The longest train I ever saw”. These go along the lines of the following (however, again there are sub-variations even within this variant!)

The longest train I ever saw
Went down that Georgia Line
The engine passed at six o’clock
and the cab went by at nine

The longest train I ever saw
was 19 coaches long
The only boy I ever loved
is on that train and gone

The kernel of “The Longest Train” stanza(s) originally comes from a separate song entirely, that over time merged into “Where Did You Sleep Last Night”.

Yes, there does actually exist a totally separate traditional song known as “The longest train I ever saw”, wherein are essentially the same lines;

The longest train I ever saw
Run by Joe Brown’s coal mine
The headlight passed at six o’clock
The cab came by at nine

The prettiest girl I ever saw
Is on that train an’ gone
Her eyes were blue, her cheeks was brown
An’ her hair is hung way down

Th train it wrecked at four miles
It killed my Evalane
Her head was found in th driver’s seat
Her poor body hain’t been found

Th longest way, th longest day
The longest night
Was th day Evalane died

I walked th track
Whole day alone
I bowed my head an’ cried

Th long steel rail, the short cross ties
They carried away
The arms that brought me safely here
But I’ll make it home, someday

thanks to

And where is any proper traditional song without death and sadness!

Where Did You Sleep Last Night, in many variants, tells of the grisly decapitation of the protagonist’s loved one, often ascribed to a train.

Early renditions, wherein mention is made that someone’s “head was found in the driver’s wheel”, usually make clear that a train caused the decapitation.

However, a number of later versions would drop the reference to the train and reattribute the cause of the decapitation/ death to different and various sources.

Music historian Norm Cohen, in his 1981 book “Long Steel Rail: The Railroad in American Folksong,” states that eventually the song came to consist of three frequent elements:

  • a chorus about “in the pines”,
  • a stanza (or more) about “the longest train”
  • a stanza (or more) about a decapitation.

However, not all elements are present in every version! the Leadbelly version, the “in the pines” chorus is prominent but the longest train verse is excluded entirely.

However, the death of the protagonist’s loved one is clearly stated and it’s cause attributed indirectly to a train. In rather macabre fashion, only the corpse’s head is found!

Her husband, was a hard working man
Just about a mile from here
His head was found in a driving wheel
But his body never was found

In a 1970 dissertation, Judith McCulloh found 160 permutations of the song.

McCulloh’s findings included facts such as that, as well as rearrangement of the three frequent elements, the person who goes into the pines or who is decapitated has been described as a man, a woman, an adolescent, a wife, a husband or a parent, while the pines have represented sexuality, death or loneliness.

The train has been described killing a loved one, as taking one’s beloved away or as leaving an itinerant worker far from home.

In variants where the song describes a confrontation, the person being challenged is always a woman, and never a man. The Kossoy Sisters folk version asks, “Little girl, little girl, where’d you stay last night? Not even your mother knows.”

The reply to one version’s “Where did you get that dress, and those shoes that are so fine?” is “from a man in the mines, who sleeps in the pines.”

The theme of a woman who has been caught doing something she should not is also common to many variants.

One variant, sang in the early twentieth century by the Ellison clan (Ora Ellison, deceased) in Lookout Mountain Georgia, told of the rape of a young Georgia girl, who fled to the pines in shame. Her rapist, a male soldier, was later beheaded by the train. Mrs. Ellison had stated that it was her belief that the song was from the time shortly after the civil war.

The only conclusion to be drawn is that this great song, over many many years, took on a life of it’s own, mutated into countless versions – even absorbing other songs into the mix – but retained it’s inherent, elemental power, it’s timelessness!

Here are the lyrics to the best known version, officially ascribed to the great Huddie Ledbetter!

My girl, my girl, don’t lie to me
Tell me where did you sleep last night

In the pines, in the pines
Where the sun don’t ever shine
I would shiver the whole night through

My girl, my girl, where will you go
I’m going where the cold wind blows

In the pines, in the pines
Where the sun don’t ever shine
I would shiver the whole night through

Her husband, was a hard working man
Just about a mile from here
His head was found in a driving wheel
But his body never was found

My girl, my girl, don’t lie to me
Tell me where did you sleep last night

In the pines, in the pines
Where the sun don’t ever shine
I would shiver the whole night through

My girl, my girl, where will you go
I’m going where the cold wind blows

In the pines, in the pines
Where the sun don’t ever shine
I would shiver the whole night through

My girl, my girl, don’t lie to me
Tell me where did you sleep last night

In the pines, in the pines
Where the sun don’t ever shine
I would shiver the whole night through

My girl, my girl, where will you go
I’m going where the cold wind blows

In the pines, in the pines
Where the sun don’t ever shine
I would shiver the whole night through

Nirvana perform Where Did You Sleep Last Night at their MTV Unplugged Show in 1993

From: hieubgl

Mark Lanegan performs Where Did You Sleep Last Night from the Winding Sheet LP
(featuring Kurt Cobain on guitar and Kris Novoselic on bass. Listen closely and you hear Kurt provide some useful back-up screaming at the end of the song!)

From: dropd24

Twilight Singers with Mark Lanegan perform Where Did You Sleep Last Night (with Massive Attack’s Live With Me)

From: whigsbitch

Here she be:

Bob Dylan – In the Pines (Live)/ Leadbelly – Where Did You Sleep Last Night/ Kurt Cobain- Where Did You Sleep Last Night (acoustic) /Nirvana – Where Did You Sleep /Mark Lanegan – Where Did You Sleep Last Night

1 RAR / 32 MB*

*updated to include the Lanegan track
which can be individually downloaded here;


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August 26, 2008 Posted by | Leadbelly, Mark Lanegan, Massive Attack, Music_Alternative, Music_Blues, Music_Folk, Nirvana, Twilight Sisters, _BOB DYLAN, _MUSIC, _POETRY | 2 Comments

Nirvana – MTV Unplugged in New York (1994)

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Nirvana – MTV Unplugged in New York (1994)
Released November 1, 1994
Recorded November 18, 1993, at Sony Studios in New York City, New York
Genre Grunge
Length 53:50
Label DGC
Producer Scott Litt, Alex Coletti, Nirvana

A wonderful document of an amazing performance which showed that, perhaps , Nirvana were on the crest of evolving into newer musical styles. Kurt’s shotgun soon put an end to that though!

The band wanted to do something different than a typical MTV Unplugged episode for its performance. According to Dave Grohl, “We’d seen the other Unpluggeds and didn’t like many of them, because most bands would treat them like rock shows – play their hits like it was Madison Square Garden, 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.

The prospect of performing an entirely acoustic show made Cobain very 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 18, 1993, at Sony Studios in New York City. 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. He wanted those effects. You can hear it on ‘The Man Who Sold The World.’ It’s an acoustic guitar, but he’s obviously going through an amp.”

Nirvana was augmented by guitarist Pat Smear and cellist Lori Goldston, who had been touring with the band. 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 yes!

Unlike many artists who appeared on the show, Nirvana filmed its entire performance in a single take. The band’s fourteen-song setlist included six cover versions. The group shied away from playing its better-known songs; the only 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 wonderful song “Where Did You Sleep Last Night” by blues legend Leadbelly. After the band finished, Cobain argued with the show’s producers, who wanted an encore but Cobain refused because felt he could not top the performance of that song.

After Kurt was found dead in April 1994, MTV aired the Nirvana episode of MTV Unplugged repeatedly. Following Cobain’s death, the band’s surviving members considered releasing a live album, but the task was too difficult for them so they instead opted to commercially release the Unplugged performance. Scott Litt, who had produced the performance, returned to produce the record.

MTV Unplugged in New York was released on November 1, 1994. Ben Thompson of Mojo wrote;

“The problem with Unplugged albums tends to be that, given that their original identity is as a video, you feel that you are not having the whole experience without something to watch. In Nirvana’s case, that is actually an advantage, because this particular whole experience is too intense to have over and over again. Even the colourless, generic aspect of the Unplugged format is vaguely reassuring here.”

Entertainment Weekly gave the album an A rating and reviewer David Browne noted that listening to the music in light of Cobain’s death was “unsettling”; Browne added;

“Beyond inducing a sense of loss for Cobain himself, Unplugged elicits a feeling of musical loss, too: The delicacy and intimacy of these acoustic rearrangements hint at where Nirvana (or at least Cobain, who was said to be frustrated with the limitations of the band) could have gone.”

By early 1995, MTV Unplugged in New York had surpassed Nirvana’s final studio album In Utero (1993) in sales, selling 6.8 million copies.

“About a Girl” was released as the album’s only commercial single in October 1994, backed with the Unplugged version of “Something in the Way” as the B-side. It was released on CD only in Australia and Europe. Promo singles were released for “The Man Who Sold the World”, “Polly”, “Lake of Fire”, and “Where Did You Sleep Last Night”.

Of the songs on the album, “About A Girl” became the biggest hit, becoming Nirvana’s fourth number one on the Modern Rock Tracks chart.

* Ranked #47 in Kerrang!’s 100 Albums You Must Hear Before You Die — Editors Choice.
* Ranked #53 in Kerrang!’s 100 Albums You Must Hear Before You Die — Readers Choice.
* Ranked #52 in Q’s 100 Greatest Albums Ever, voted by the readers of Q.
* Ranked #311 on Rolling Stone’s list of the 500 greatest albums of all time in 2003.
* Won a 2008 NME Award for ‘Best Music DVD’


1. “About a Girl” (Kurt Cobain) – 3:37
2. “Come as You Are” (Cobain) – 4:13
3. “Jesus Doesn’t Want Me for a Sunbeam” (Eugene Kelly, Frances McKee) – 4:37
4. “The Man Who Sold the World” (David Bowie) – 4:20
5. “Pennyroyal Tea” (Cobain) – 3:40
6. “Dumb” (Cobain) – 2:52
7. “Polly” (Cobain) – 3:16
8. “On a Plain” (Cobain) – 3:44
9. “Something in the Way” (Cobain) – 4:01
10. “Plateau” (Curt Kirkwood) – 3:37
11. “Oh Me” (Kirkwood) – 3:26
12. “Lake of Fire” (Kirkwood) – 2:56
13. “All Apologies” (Cobain) – 4:23
14. “Where Did You Sleep Last Night” (Traditional, Arranged by Leabelly) – 5:08

Here she be:

Big thanks to raven

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August 26, 2008 Posted by | Music_Alternative, music_Grunge, Nirvana, _MUSIC | Leave a comment

Nirvana – The Complete Radio Sessions (1995, 320 kbps)

Nirvana – The Complete Radio Sessions (1995, 320 kbps)

A superb collection at high bitrate. What more could you want!


01 Love Buzz
02 About A Girl
03 Polly
04 Spank Thru
05 Son Of A Gun
06 Molly’s Lips
07 D7
08 Turnaround
09 Dumb
10 Drain You
11 Endless Nameless
12 Been A Son
13 Polly
14 Aneurysm
15 Something In The Way
16 Here She Comes Now
17 Where Did You Sleep Last Night
18 Drain You
19 Polly
20 Territorial Pissings
21 Lithium

320 kbps:……part1.rar……part2.rar

Big thanks to iraklis and the original poster

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August 22, 2008 Posted by | Music_Alternative, Music_Punk, Nirvana, _MUSIC | 2 Comments

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

Nirvana – Smells Like Teen Spirit – Single (1991) – Smells Like Teen Spirit – Single (1991)
192 kbps

01 – Smells like teen spirit (edit) – 04:40
02 – Even in his youth – 03:06
03 – Aneurysm – 04:47

Here be Kurt:

Thanks to the original poster


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January 18, 2008 Posted by | Music_Alternative, Nirvana, _MUSIC | Leave a comment

Nirvana – Smells Like Teen Spirit – Single (1991) – Smells Like Teen Spirit – Single (1991)
192 kbps

01 – Smells like teen spirit (edit) – 04:40
02 – Even in his youth – 03:06
03 – Aneurysm – 04:47

Here be Kurt:

Thanks to the original poster


free image hosting by

January 18, 2008 Posted by | Music_Alternative, Nirvana, _MUSIC | Leave a comment