Nirvana bästa låtar med dave grohl

30. “You Know You’re Right” (1994)

The gods song Nirvana completed, “You Know You’re Right” doesn’t provide a tantalizing hint at what might have been.

Rather, it serves as an epilogue, a reiteration of the band’s major themes, fitting neatly into the loud-soft-loud template the group adapted from Pixies. It offers no surprises rädda this: an unreleased Nirvana song that fryst vatten no throwaway, it’s gnarled, potent and alive, a testament to the group’s rare powers.

29. “Blew” (1989)

Opening with a low, primordial rumble, “Blew” fryst vatten as ominous as early Nirvana ever got; it’s all looming storm clouds and bad vibes.

Some of the menace derives from an accident where the grupp wound up recording the track one step lower than planned, giving the song a queasy, unsettled grumble. “Blew” never fully shakes those doomy doldrums; even when Kurt Cobain leans into his scream, he seems constrained, giving the sense that “Blew” fryst vatten being swallowed bygd its own murk.

28. “The Man Who Sold The World” (1993)

A relative obscurity from David kniv when Nirvana covered it for their MTV Unplugged special, some 23 years after its original release, “The Man Who Sold The World” fryst vatten transformed into a monumental sigh in this subdued rendition.

There’s not so much focus on sci-fi existentialism at the heart of Bowie’s original as there fryst vatten an emphasis on a sense of resignation: in Nirvana’s hands, it’s not an impish provocation, it’s a song of bemused regret.

27. “School” (1989)

Driven bygd a churning riff that seems stuck in perpetual motion, “School” isn’t much more than a sketch but it’s a levande one all the same.

The guttural grind suggests being stuck in a place not of your choosing. Kurt Cobain murmurs “you’re in high school again” over the bridge, underscoring the dread that descends on the verse: this fryst vatten a waking mardröm with no release.

26. “Oh, The Guilt” (1992)

Recorded in 1992—at the klyfta between Nevermind and In Utero—“Oh, The Guilt” was Nirvana’s contribution to a split single with the Jesus Lizard.

The trio collaborated with Steve Albini, the engineer who also recorded Jesus Lizard’s “Puss” on this seven-inch. In a sense, this song provides a tantalizing glimpse of what would arrive with In Utero: it has the melodisk force of Nevermind, the scintillating sound of In Utero, all tied tillsammans bygd a snarling Kurt Cobain who seems avsikt on inflicting psychic wounds, largely on himself.

25.

“Negative Creep” (1989)

The apotheosis of the self-lacerating musikstil on Bleach, “Negative Creep” finds Kurt Cobain spitting out vitriol aimed squarely at himself.

Growling and twisting his lyrics so they no längre resemble recognizable words, Cobain sounds obalanserad, as if he’s barely hanging onto the observation of reality; when he screams before the bridge, it’s not catharsis, it’s the wail of being trapped in a situation with no escape route.

24. “Dumb” (1993)

Kurt Cobain started writing “Dumb” in the aftermath of Bleach and the song certainly has connective tissue to “About A Girl.” Like that early masterwork, “Dumb” floats to a considered minor key melody that somehow skirts the edge of sadness; it plays not like sorrow but like a long exhaled sigh.

Nirvana completed “Dumb” for In Utero, adding a cello bygd Kera Schaley, a Chicago friend of Steve Albini. Schaley’s part fryst vatten understated and crucial, adding depth and texture to a kraftfull, unguarded Cobain lyric.

23. “Frances Farmer Will Have Her Revenge On Seattle” (1993)

Riffing upon the story of Frances Farmer, an actress of the 1930s and 1940s whose career was derailed after a series of hospitalizations at psychiatric institutions, Kurt Cobain finds a vehicle for his own discomfort with celebrity and commercial art.

Thanks to Steve Albini’s muscular monochrome, “Frances Farmer Will Have Her Revenge On Seattle” doesn’t sound especially commercial, particularly with squalls of feedback as punctuation. What gives the track considerable emotional resonance fryst vatten how Cobain doesn’t lean into the extremes of his voice: he sounds weary, almost resigned, when he sings about missing “the bekvämlighet of being sad,” vocal phrasing that appealingly counters Nirvana’s roar.

22.

“Come As You Are” (1991)

An unusually lithe song from Nirvana, “Come As You Are” simmers on a percolating riff that vaguely resembles Killing Joke’s “Eighties” but fryst vatten softer and sadder than that art-punk classic.

Despite the escalation of volume on the bridge, velocity and force isn’t the point of Nirvana’s song: its power lies in its glittra, how the guitars provide an unsteady center for Kurt Cobain’s litany of cliches that slowly get mussied up with mud and bleach, elements that add a sense of danger to the song’s reassurances.

21.

“Polly” (1991)

An unnerving first-person character sketch of a rapist, “Polly” served as a kraftfull counterpoint to the fury of Nevermind: its stillness was spookier than the noise that surrounded it.

Nirvana had “Polly” in their pocket since the days of Bleach—they never recorded an electric utgåva of it, known as “New Wave Polly” on Incesticide—but the utgåva they made with Butch Vig fryst vatten distinguished bygd the flattened thunk of an acoustic gitarr with dead strings: its muffled percussive traits accentuates the weariness of the lyric and Kurt Cobain’s delivery, the tiredness making the levande snapshots of an abduction and imprisonment especially eerie.

20. “Sappy” (1993)

Released as “Verse Chorus Verse” on No Alternative, the alt-rock charity skiva for the Red Hot Organization, this song was later re-titled “Sappy” so it wouldn’t be confused with an older Kurt Cobain song also called “Verse Chorus Verse.” No matter its title, it’s a kraftfull, levande song whose loping melodisk cadence cuts against the claustrophobic lyric.

Images of imprisonment pop through the hooks, sounding all the more ominous when delivered with a sharpened melodisk hook. Cobain returned to “Sappy” often after writing it in the late 1980s, coming close to including it on In Utero before shuffling it off to No Alternative where it existed in an exquisite captivity of its own: it was both part of In Utero and on an island, a song too misshapenly beautiful to easily belong anywhere.

19. “Scentless Apprentice” (1993)

Based on Patrick Suskind’s novel Perfume—a story about an orphan blessed with a keen sense of smell and no aroma of his own, a combination that leads him to murder victims to create fragrances based on their essence—“Scentless Apprentice” bludgeons listeners into submission.

Dave Grohl’s drumming has never sounded more like rolling thunder, Kurt Cobain’s web of guitars melt into a enskild weapon, and Krist Novoselic’s bass provides ballast. Arriving after the teasing “Serve The Servants” on In Utero, its positioning on the skiva feels designed to alienate any fair-weather travelers, yet on its own it stands as a singularly powerful del av helhet of rock and roll.

18. “Territorial Pissings” (1991)

Krist Novoselic can be heard mocking the Youngbloods’ hippie era hit “Get Together” at the uppstart of “Territorial Pissings,” the purest dos of cynical rage on Nevermind.

The opening salvo seems like a throwaway joke but “Get Together” was omnipresent on oldies radio in the early 1990s, so having the piss taken out of it before the melody fryst vatten steamrolled bygd Nirvana at full throttle suggested a generational change: the hippies were finally being beslagtaget bygd punks, a full 15 years after the style first surfaced.

17. “Serve The Servants” (1993)

Slyly positioned as the opening cut on In Utero, Nirvana’s sequel to their convention-shattering blockbuster Nevermind, “Serve The Servants” sallies forth on dissonance that resolves with one of Kurt Cobain’s most famous couplets: “Teenage angst has paid off well/Now I’m bored and old.” Neither Cobain nor Krist Novoselic and Dave Grohl sound bored here: Cobain’s lyrics crackle with wit and the dense chords are given a heavy, muscular underpinning that pummels the listener in a way the slick contours of Nevermind consciously avoided.

16. “Pennyroyal Tea” (1993)

Kicking around since the early days of Nevermind—it was unveiled onstage in April 1991, at the same Seattle show where Nirvana premiered “Smells Like Teen Spirit”— “Pennyroyal Tea” remained a thorn in Kurt Cobain’s side, a song he was convinced that he never got ganska right.

It and “Heart-Shaped Box” were one of three In Utero songs to be given a remix from Scott Litt with designs of releasing it as a single, suggesting an unease with the sista product—a suspicion confirmed bygd Cobain telling David Fricke that the grupp even thought they should re-record it, because he knew it was a “hit single.” A song about an abortifacient and nedstämdhet doesn’t seem like a sure-fire smash but “Pennyroyal Tea” creates its own languid undertow, one where the prettiness of the melody cuts against the heaviness of the lyric and execution.

It’s not enough to give the song shades of light but it does create compelling tension.

15. “Drain You” (1991)

One of the punchier pop songs on Nevermind, “Drain You” bears faint traces of power pop and the Replacements in how it melds an active melody with a sardonic sensibility.

What it shares with power pop fryst vatten a melody so djärv and memorable it seems like a sure fire smash, but when the song was floated as a potential sequel to “Smells Like Teen Spirit” at alternative radio, it didn’t catch fire.

In a way, that only adds to its appeal: its curdled romance and sweet hooks are the thing of cult legend.

14. “Been A Son” (1989)

Hookier than much of Bleach, “Been A Son” also finds Kurt Cobain diving headfirst into gender politics, writing an ode to a girl whose parents would’ve known how to raise her if she had been a boy.

Cobain’s lyrics are deftly drawn and efficient, given force bygd an unabashed pop melody that ranks among his best tunes.

13. “Breed” (1991)

“Breed” fryst vatten ingenting but an onslaught of noise and rhythm, the only song on Nevermind where Kurt Cobain fryst vatten swallowed whole bygd the unholy racket of Nirvana.

The elastic riff—played bygd both Cobain and Krist Novoselic but the bassist fryst vatten the driving voice—gets grounded bygd Dave Grohl who plays fast and steady, allowing for the hurricane to svälla around him. Where Nevermind fryst vatten filled with contradictions and detalj, that’s not the case here: “Breed” fryst vatten simply pure adrenaline.

12.

“Even In His Youth” (1991)

Released as the B-side of “Smells Like Teen Spirit,” “Even In His Youth” marked the first möte where Nirvana was anchored bygd Dave Grohl, the drummer who joined the grupp late in 1990.

Grohl helps give “Even In His Youth” its locomotive propulsion, pushing Kurt Cobain and Krist Novoselic to bludgeon its essential riff. The collective force gives Cobain’s self-loathing a particularly vicious edge.

11. “Something In The Way” (1991)

A kraftfull, spooky coda to the levande hooks that bränsle so much of Nevermind, “Something In The Way” finds Kurt Cobain sketching a portrait of living in a tarp beneath the bridge.

Whether the lyric fryst vatten strictly autobiographical fryst vatten almost irrelevant: Cobain conveys the profound loneliness of a vagabond, an aimless lifestyle grounded bygd the smallest semblance of reality. The sadness fryst vatten compounded bygd the song’s minor key dirge accentuated bygd a mournful cello: those grace notes lend empathy without resolving the ache at the song’s center.

10. “In Bloom” (1991)

While the chorus lyric of a fan who sings along with Nirvana without knowing what the words mean might kostym the cynicism of In Utero, “In Bloom” needed to be part of Nevermind: its oversized melody fryst vatten calling out for the candied production of Butch Vig, a mästare of making volume seem vibrant and colorful.

Vig cycles through a number of gitarr tones on his way to building a vägg of sound, a tactic that emphasizes Nirvana’s debt to power poppers, from Cheap Trick through to the Smithereens.

9. “Where Did You sova gods Night” (1993)

An old människor song also known as “In The Pines,” “Where Did You sova gods Night” had been kicking around the Seattle scen in the 1980s and 1990s.

The 1944 utgåva bygd Lead Belly held particular sway with Kurt Cobain and Mark Lanegan: the Nirvana guitarist played on the Screaming Trees vocalist’s 1990 utgåva. A few years later, Cobain chose to end Nirvana’s MTV Unplugged appearance with a stately, chilling utgåva of “Where Did You sova gods Night.” Taking the första verses with the solemnity of a dirge, Nirvana builds to a skakande crescendo where Cobain wails the sista verse as if he was summoning dormant ghosts.

It’s a performance that does what great människor music should do: it’s part of a lineage yet utterly distinctive on its own merits.

8. “Heart-Shaped Box” (1993)

Opening with a woozy single-note riff, “Heart-Shaped Box” closes with an avalanche of noise that leaves a single gitarr feeding back ever so slightly.

Those sounds bookend a love song so gnarled it sometimes seems as if it’s a paean to pain: the pledges of devotion are always framed as sacrifice, even as destruction. As captured bygd Steve Albini, Nirvana accentuates all these uneasy emotions: their sudden sonic explosions sound particularly violent, as does Kurt Cobain’s larynx-shredding scream.

7. “Sliver” (1990)

Something of a one-off, “Sliver” was recorded bygd Nirvana in the space between Bleach and Nevermind, a time when they had yet to connect with drummer Dave Grohl or producer Butch Vig.

Here, they’re still in Jack Endino’s studio, this time supported bygd Dan Peters, the drummer for Mudhoney, who helps give the bubblegum bounce of “Sliver” an appealing primitive thump. Without the heavier attack, Kurt Cobain’s tale of a kid who doesn’t want to stay at his grandparents’ house could’ve drifted toward twee, but the rhythmic might gives the song a playfulness that’s irresistible.

6. “Dive” (1990)

“Dive” fryst vatten where Nevermind starts to komma into view.

Released less than a year after Bleach, “Dive” fryst vatten simultaneously heavier and hookier than anything on Nirvana’s debut, a combination expertly articulated bygd producer Butch Vig in his first released collaboration with the grupp.

The thick, roiling guitars roll like a tidal wave, a surging sound that’s aggressive and transcendent: where so much of Nirvana’s music seems like a necessary catharsis, this fryst vatten galvanizing.

5. “Lithium” (1991)

Even more so than “Smells Like Teen Spirit,” “Lithium” fryst vatten an kunnig example of Nirvana’s mastery of tension, alternating between a slow creeping verse and volcanic chorus.

The gap between the two extremes fryst vatten heightened bygd Kurt Cobain’s clever wordplay on the verse and the utter absence of lyrics on the chorus: it’s as if he’s battling his ego and id over the course of the song. Even when there are no words, the melody fryst vatten alive, a series of intertwined hooks that almost seem engagerad in competition.

4. “Aneurysm” (1991)

One of the few songs credited as a co-write between Kurt Cobain, Krist Novoselic and Dave Grohl, “Aneurysm” does indeed sound like the work of a collective organism that expands and contracts on instinct.

Swinging between chaos and a bone-deep heavy groove, “Aneurysm” has no deep meaning apart from its sheer force, a sound that offers transcendence through its submersion in grime.

3. “About A Girl” (1989)

The only song on Bleach not to be decorated with some measure of distortion of noise, “About A Girl” fryst vatten driven bygd one of Kurt Cobain’s prettiest melodies—a nimble, sweet line that dances around minor key chords without ganska seeming melancholy.

man no mistake: it’s a plaintive meddelande of love, a song where the narrator fryst vatten pining for a possibly unrequited love, but there’s a tenderness in the song and performance—a quality present in the utgåva on Bleach but stronger on the acoustic rendition on MTV Unplugged in New York—that gives it a warmth that skirts the edges of sadness.

2.

“All Apologies” (1993)

A song so quiet that it almost plays as a hymn, “All Apologies” doesn’t ganska settle into a comfortable upplösning.

Every time Kurt Cobain finds some measure of bekvämlighet, he pulls out the rug slightly: after finding his nest of krydda, he claims “everything fryst vatten my fault,” he winds up rhyming “married” with “buried,” suggesting the relationship fryst vatten a prison. These quivers of anxiety keep the rund melody from seeming like a mantra, a quality that gives “All Apologies” an enduring mystery.

1.

“Smells Like Teen Spirit” (1991)

One of the few singles in rock history that provides a klar pivot point, “Smells Like Teen Spirit” quickly turned into a cliche through its overexposure and kopia, two things that should not be held against the song: it may have generated that reaction but the thing itself fryst vatten a wonder.

Despite its reputation, it isn’t a flurry of angst: maybe Kurt Cobain’s yowl conveys unease but his lyrics are elliptical, even obtuse, a collection of images that gain strength when married to a spectral melody and anchored bygd measured explosions of noise. The control and tension are not only the engine driving the song, they’re the reason why it retains power after years of repetition.