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No Apologies: All 102 Nirvana Songs Ranked

RS tackles the complete catalog of the band that defined the Nineties and made the world a lot noisier

nirvana kurt cobain dave grohl krist novoselic

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We've dug deep into the catalog of the chaos-embracing sludge-pop titans who changed the world and tackled a massive task: ranking all 102 album cuts, B-sides, bonus tracks, officially released covers, bootlegger-traded originals, home demos, Peel Sessions, and 4-track experiments we could find, from Nirvana's formation in 1987 to their McCartney-assisted reunion in 2013. It's no secret that the 38 songs on Nirvana's three classic albums blurred the lines between punk's most subterranean muck and pop's highest reaches. But they also left behind a wealth of other material from the shaggy to sublime, from combustible to calm, from coulda-been hits to unfinished sketches. Here it is, from Aero to Zeppelin, and everything in between. (Listen to the full playlist on YouTube here.)

Gallons of Rubbing Alcohol Flow Through the Strip

“Gallons of Rubbing Alcohol Flow Through the Strip”

One of the weirder things Nirvana ever cut, “Gallons of Rubbing Alcohol Flow Through the Strip” is an odd mixture of Pavement-style archness and inebriated rage. A seven-and-a-half minute improvisation recorded during a January 1993 demo session in Brazil, “Gallons” was included as a bonus on some non-U.S. CD versions of In Utero, where it was labeled on the CD’s back cover as “Devalued American Dollar Purchase Incentive Track.” Repeated references to G.I.T. (the Hollywood-based Guitar Institute of Technology) would seem to indicate that the “Strip” in question is the one on L.A.’s Sunset Boulevard, whose spandexed and poodle-haired denizens had just been handed their walking papers by the success of a certain Seattle band. DANIEL EPSTEIN

Talk To Me

“Talk to Me”

Courtney Love has said that the jerky rhythm at the heart of this Cobain tune is a testament to Kurt’s love of new wavers like Devo and Oingo Boingo – and is there also a hint of the Rolling Stones’ “Get Off of My Cloud” in the recurring drum fill? But while Nirvana occasionally pulled out “Talk to Me” on stage in 1991 and 1992, they never bothered to bring it into the studio. Which is not to say that the song wasn’t tagged for potential recording – just that it wasn’t necessarily considered by Nirvana. Love and her band Hole tackled it at Hanzek Audio in August, 1993, during early Live Through This sessions, but the track ultimately was left unfinished. It was later offered to Iggy Pop, who replied with a polite thanks, but no thanks. “I do my own music, and I like Kurt’s music,” he explained to The Big Takeover in 2002. “But I have no interest in doing Kurt’s music.” RICHARD BIENSTOCK


“Pen Cap Chew”

Nirvana’s first ever studio session – January 23, 1988 – was a particularly productive one: Ten songs, recorded and mixed in just over five hours. Known as the “Dale Demo” due to the participation of Melvins drummer Dale Crover, two from this batch found their way onto the original pressing of Bleach, while another five eventually wound up on Incesticide. One of the few that fell by the wayside was the hammering “Pen Cap Chew” – though not necessarily because it wasn’t up to snuff. Rather, it had the unfortunate luck of being the last song tracked during the session. Recalled producer Jack Endino, “It was incomplete; the master tape ran out halfway through it and the band didn’t want to buy another reel.” As a result, the producer had to find his own way to wrap things up, ultimately choosing to add “a fade ending that I did just for their amusement.” RICHARD BIENSTOCK

Do Re Mi

“Do Re Mi”

The last known composition by Kurt Cobain – also known as “Dough, Ray and Me” – was first mentioned in a 1994 Rolling Stone interview with Courtney Love, although it didn’t surface for another decade. Love’s commentary on the song is cryptic, but it may explain the line that sounds like “if I may, cold as ice”: “I had asked him after Rome” – where Cobain overdosed and fell into a coma a month before his suicide – “to freeze his sperm. So there’s this whole thing about freezing your uterus.” The song has only been heard as Kurt’s acoustic home recording as “Do Re Mi,” its title borrowed from the Sound of Music song about the musical scale (note that Kurt plays a descending scale after the chorus). DOUGLAS WOLK


“Verse Chorus Verse”

Kurt really wanted to call something “Verse Chorus Verse.” He wrote that phrase on the cover of at least one of his notebooks, constantly used it as a disparaging description of his songs, and briefly intended to use it as the title of the album that became In Utero. When “Sappy” appeared as an unlisted bonus track on the No Alternative compilation, it was referred to as “Verse Chorus Verse” as well. The first song to have that title, though – and the one that kept it – is the one that starts “neither side is sacred.” The band recorded a rough version of it during the Nevermind sessions, and it’s a lesser variation on other verse-chorus-verse songs they would come up with: To wit, its final live performance was immediately followed by the debut of “Smells Like Teen Spirit.” DOUGLAS WOLK



“Kurt began to attend Sunday service regularly, and even made appearances at the Wednesday night Christian Youth Group,” writes Charles R. Cross in his Cobain biography Heavier Than Heaven. As a late teenager, Cobain – a troubled kid into drugs and out of school, arrested for purportedly pro-gay graffiti, booted from the house not long after his parents divorced – turned briefly to God for support, searching for anything to replace everything that had gone missing. He gave up drugs and got baptized, but he quickly recanted. “It was a transitory moment out of fear,” his former classmate and friend at the time later told Cross. Written only a few years after the spiritual crisis, “Sifting” extends a proud middle finger to teachers and preachers and every rule they’d ever given the budding bandleader – no bed wetting, no sinning, no skipping school. “Don’t have nothing for you,” Cobain yells a few dozen times, the song’s noose-like riff tightening around the drum’s own tantrum. “Sifting” is a heavy, menacing bit of Melvins obsession that, though not particularly remarkable for its music, serves as a vivid encapsulation of Cobain’s lifelong obduracy. GRAYSON HAVER CURRIN


“Hairspray Queen”

One of the oldest pieces of Nirvana’s catalog, this track’s bouncing bassline and gnarled guitars are a catchy mix of noise and pop: Cobain told Nirvana biographer Michael Azerrad that he regretted not including it on Bleach. A 1988 rehearsal of the song collected on With The Lights Out puts the instruments front and center – and ends with Kurt running up to the camera to reveal that he’s been playing the guitar with his middle finger. But it would be best known for Cobain’s yowled-cat vocals on the version that made it to Incesticide. MAURA JOHNSTON



For a song that he recorded twice and put out three times, Cobain didn’t think much of it: “I was trying to be Mr. Political Punk Rock Black Flag guy,” Cobain told Michael Azerrad. “I really didn’t know what I was talking about. I was just throwing together words.” Cobain rarely left his own head (or Aberdeen’s city limits) when searching for lyrical material, so one of Nirvana’s only attempts at politics, “Downer” is a bit of a sore thumb – a remnant of Cobain’s early immersion in hardcore, raging against “conservative communist apocalyptic bastard[s].” “Downer” is the only song from his 1985 Fecal Matter demo to ever land on an official Nirvana album: It was tacked on to the CD version of Bleach, and later appeared again on Incesticide. The Melvins’ Dale Crover, bassist and drummer on the original, returns on drums, nearly doubling the tempo and turning a mechanical plod into a breakneck, Devo-esque blast. TOM MALLON


“Big Long Now”

Stylistically, “Big Long Now” is indebted to Black Flag’s My War and that LP’s polarizing, sludgy, glacially paced Side B. Recorded in one take for Bleach, “Big Long Now” didn’t make the track list – it probably lost out to the similarly plodding “Sifting” – but was rescued from the scrap heap when producer Jack Endino lobbied for its inclusion on B-side comp Incesticide. No live performances of the song have ever surfaced, but a video of the Nirvana rehearsing the track at Krist Novoselic’s mother’s house in 1988 appeared on the With the Lights Out DVD. DANIEL KREPS


“Return of the Rat”

As a tribute to the Portland punk pioneers, Nirvana were invited to take one side of the 7-inch box set Eight Songs for Greg Sage and the Wipers, joining covers by Hole, Poison Idea, and Napalm Beach. According to Thor Lindsay, who founded the label that put out the comp, Cobain originally wanted to submit the band’s already recorded Wipers cover “D-7,” which they had done for John Peel, but Nirvana’s label complicated the licensing. So Cobain said, “Fuck it, I’ll record another track,” and, in Lindsay’s words, “basically a DAT tape turned up with ‘Return of the Rat’ on it.” Session engineer Barrett Jones said the group recorded the track along with “Oh, the Guilt” and “Curmudgeon” in one or two takes. More impressive is Jones’s claim that they had never even played it before. KORY GROW



Few would have guessed that the member of Nirvana who’d go on to have six platinum records on his own would be the drummer, but “Marigold” is Nirvana’s most significant contribution to the Foo Fighters story. Shortly after Dave Grohl joined Nirvana, he recorded a solo voice-and-guitar version of this hovering, introverted song, then called “Color Pictures of a Marigold.” It eventually appeared on Pocketwatch, a cassette-only album Grohl released in 1992 under the name Late! The recording that became a “Heart-Shaped Box” B-side, recorded during the In Utero sessions, featured Grohl and Novoselic – but apparently not Cobain. “Marigold” wouldn’t be played live until Grohl resurrected it with the Foo Fighters in 2006. DOUGLAS WOLK


“Endless, Nameless”

Attempting to conclude Nevermind with the CD equivalent of a sound skipping in a run-out groove, Kurt and company instructed engineer Howie Weinberg to follow closer “Something In the Way” with ten minutes of silence and the noisy outtake “Endless, Nameless.” An extended jam that often closed concerts, the band recorded the track after the session for “Lithium” went south, the frontman bringing said session to a close by smashing the studio’s only left-handed guitar in the middle of the take. Thanks to Nevermind, these sort of hidden tracks would remain popular until WinAmp and its descendents revealed track lengths before the listener pressed play. But Kurt’s smashed guitar would hang around even longer, immortalized in a photograph reprinted in Michael Azerrad’s Come As You Are and later in a Nirvana exhibition at Seattle’s EMP Museum. NICK MURRAY

Oh, Me

“Oh, Me”

“Oh Me” was originally cut from MTV’s broadcast of Unplugged – hard to imagine given the album’s classic status now, but ad time is ad time. Meat Puppet Curt Kirkwood – who along with his brother, Cris, wrote the song and joined Nirvana for the session – always said it was his favorite from 1984’s Meat Puppets II, and it’s easy to understand why: Nowhere else on the album does the band’s ragged psychedelia sound so sweet but so dangerous. “My whole expanse / I cannot see,” the lyric says – but it sure always sounded like “My hole expands / I cannot see.” And like all of Cobain’s most indelible songs, it seesaws between smart and dumb, leaving the listener to sort out whether to trust the singer or just let him babble his way into oblivion. MIKE POWELL

Big Cheese

“Big Cheese”

If Nirvana had their way, the flipside of their debut 7-inch would have been whole lot blander. Engineer Jack Endino has said the group originally recorded “Blandest,” for their Sub Pop Singles Club B-side. “The song is called ‘Blandest’ for a reason,” the engineer said, because they were disgruntled with the fact that Sub Pop big cheese Jonathan Poneman wanted them to record a cover – Shocking Blue’s “Love Buzz” – for the A-side. When they were done with the “Blandest” session, they slugged out “Big Cheese,” a heavy, hate-filled invective about Poneman (“He was being so judgmental about what we recorded,” Cobain said), and the track wowed Endino because it was “livelier.” The engineer was able to convince the band to use that as their B-side instead. KORY GROW


“Aero Zeppelin”

Cobain proudly included Aerosmith’s Rocks in the famous list of his top 50 albums, and Cobain and Novoselic listed both Zeppelin and Aerosmith in an ad for a drummer they placed in Seattle rock mag The Rocket. But despite the fact that it often appeared in their early live sets right alongside Zep’s “Immigrant Song,” “Aero Zeppelin” i