Teenage Angst Has Paid Off Well: Grunge and Social Revolution

Note: This is my US history term paper, and is thus significantly lengthier than my other posts, just as a heads up.

Teenage Angst Has Paid Off Well:

Grunge and Social Revolution

Michael O’Neill

4/14/2014

            People sometimes define periods of American history by the music that was popular at the time. The 1920’s are to this day referred to as the “Jazz Age;” the 1970’s are remembered for disco. Perhaps most notably, the early 1990’s are recognized by many as the glory days of grunge, as a new and exciting brand of alternative music that shook the mainstream. During this time, youth were growing more and more agitated with the older generations as the government floundered under President George H.W. Bush, falling deeper and deeper into a recession between 1990 and 1992. [1] Americans showed their desire for change as Democratic candidate Bill Clinton defeated Bush in the 1992 election, with third-party candidate Ross Perot managing to grab nineteen percent of the popular vote. [2] Clearly, the American public wanted something different. Simultaneously, the plastic music of the 1980’s had grown stale, making the time ripe for a new genre of music to come along. These factors combined to set the stage for the rise of grunge music, which used apathetic lyrics and an organic sound to connect with disillusioned young people across the nation.

            Starting in late 1991, grunge music began to explode in popularity, growing out of a Seattle-based scene and eventually sustaining a presence in pop culture for a few brief yet substantial years.[3] Not only did it change music, however, it also created a youth-based social movement, the effects of which helped reshape various aspects of American society. Most tangibly, grunge re-shaped rock music, movies, and fashion. Besides this, the grunge era generated a new youth counter-culture, provided an outlet for new political ideals to be broadcast to a large audience, and increased the gap between Generation X and the Baby Boomers.

            Before analyzing grunge as a musical proclamation, it is necessary to briefly examine the rock music popular in the years preceding its peak, to which it was largely a response of. For the most part, rock music in the 1980’s was dominated by a more accessible form of heavy metal known as ‘pop metal.’[4] The genre was characterized by melodic hooks, quick tempos, flashy guitar playing, and clean production values. Notable artists who fell under this genre included Bon Jovi, Def Leppard, and perhaps most prominently, Van Halen.[5] The other sub-genre of rock to see mainstream success during this time was arena rock, pushed forward by the likes of Bruce Springsteen and U2.[6] By the beginning of the decade, punk music had experienced a decline in popularity, with the leaders of the movement branching out into different varieties of rock.[7] Soon, alternative-leaning ‘post-punk’ groups such as The Smiths and The Cure began to receive both critical and commercial acclaim in the UK, while only seeing minor success stateside.[8]

            Even before the eighties wrapped up, many music listeners were craving a new sound, one drastically different from the over-the-top glam metal and arena rock scenes that were still extremely popular. Into this role stepped grunge, a combination of several different genres that would take hold of a generation of exasperated youth. Britannica identifies grunge music as a distinguishable sub-genre of rock “combining guitar distortion, anguished vocals, and heartfelt, angst-ridden lyrics.”[9] Though debate over usage of the term exists, grunge is somewhat of a catch-all term for most of the alternative rock bands to gain popularity during the early 1990’s, though most shared at least a few musical characteristics. Due to this broad definition, a considerable amount of variation exists among the various grunge artists, each drawing different degrees of influence from the assorted sub-genres of rock that came before them. Typically, grunge bands employed a combination of punk rock and heavy metal, utilizing punk’s rebellious spirit and heavy metal’s tendency for catchy hooks and powerful guitar riffs.[10] Some groups, most notably Soundgarden, also drew inspiration from the hard rock of the seventies.[11] Nirvana front man and grunge kingpin Kurt Cobain was influenced by everybody from rock trailblazers The Beatles, to college rock giants like The Pixies and R.E.M., to more conventional classic rockers such as Aerosmith and Cheap Trick.[12] Based on this extensive variety, grunge was a wide-ranging genre that took ideas from numerous types of rock music and pooled them into a refreshing sound that would soon spark a social revolution.

Top 10 Nirvana Songs

Nirvana are a band that've been extremely present as of late. This week, they're going to be inducted into the Rock and Roll Hall of Fame in their first year of eligibility. Singer Kurt Cobain's ex-wife Courtney Love recently announced that her band Hole was reuniting. On a personal level, my term paper on grunge's effects on society, much of which is centered on the story of Nirvana and Cobain, is due next week.

Of course, the biggest reason Nirvana's name has been everywhere lately is because this week marks 20 years since the end of Nirvana, as Cobain was discovered deceased at his home on April 8th, 1994, twenty years ago today. The news of the tortured singer's suicide shocked the world much like word of Lennon's murder did over a decade prior, though there warning signs ahead of time, unlike the latter's sudden death. Regardless, the tragic end to the career of grunge's kings cemented their place in history as one of if not the greatest alternative act of all time. As such, whittling down their catalog to a measly ten tracks was no walk in the park. This list might seem In Utero-heavy, but that's largely because it's widely accepted as their best and most time-withstanding work. And to prove my point, here's number ten...

10. "Frances Farmer Will Have Her Revenge on Seattle" - In Utero

For those who wonder why In Utero is known for its abrasiveness and viscerality, look no further. Dry guitars and Cobain's gravelly vocal each stand out on this track, and the harsh feedback during the verse does its job dutifully. The track follows the quiet-loud-quiet format to a tee. Dave Grohl also pounds heavily behind the drumkit in one of the group's loudest, most violent songs. It's not Nirvana at their most commercially appealing by any means, but it is one of their best nonetheless.

9. "Serve the Servants" - In Utero

To kick off Nirvana's third and final studio album, Kurt Cobain howls possibly the greatest opening lyric in rock history: "Teenage angst has paid off well," he admits, before lamenting "now I'm bored and old." The lyric perfectly encapsulated not only what was going on in terms of pop culture and grunge's increasing role in it, but also Kurt's attitude towards his newfound fame and influence. The song comes off as more tame, more composed compared to "Frances Farmer," which gives it just that extra bit of quality. Cobain's guitar work here is some of his best, whether it's the crunchy opening riff or the more free-flowing solo. The quiet-loud song structure is reversed, as Kurt's screaming in the verses shrinks into a timid moan for the eponymous chorus. "Serve the Servants" kicks off the album in style, via a dirty, unglamourous grunge crawl.

8. "Rape Me" - In Utero

Due to its provocative title, "Rape Me" is far and away Nirvana's most controversial track, which is odd considering the lyrics are extremely anti-rape. But ,of course, some people will always judge a book by its cover or, in this case, a song by its title. Though "Heart-Shaped Box"'s music video was definitely, let's say, "out there," and the subject matter was just as sexual (according to Courtney Love), it's "Rape Me" that had Walmart and KMart aflutter. Ironically, the song is one of In Utero's most commercially viable, following a relatively standard structure with a powerful chorus and pulsating beat. The guitar riff is fantastic, and the entire song has a somewhat straightforward punk sound to it. "Rape Me" is a classic grunge song, and is probably the closest thing to Nevermind-era Nirvana you can find on In Utero.

7. "About a Girl" - Bleach & MTV Unplugged


Nirvana's pop tendencies were evident from the beginning, as this track from their 1989 debut Bleach clearly indicates. I've included both the original recording and the live acoustic version here, as both a thoroughly entertaining in different ways. The catchy chorus, simple instrumentation, and addictive melody all come together wonderfully in the plugged-in version, which still sounds great twenty-five years on. The MTV show that Nirvana played is one of the most famous in history - how many other concert recordings are regularly played on rock radio? The trio lead off on this famous night with an acoustic rendition of "About A Girl," setting the tone perfectly for the rest of the show. The prettier acoustic guitars and soft drums put all the focus on Kurt's voice, changing the emphasis of the song significantly. I'd be hard-pressed to declare one take better than the other, and would rather just enjoy each for what they are, by which I mean two amazing pieces of music.

6. "On a Plain" - Nevermind

Nevermind's penultimate listed track and final 'loud' song (as its followed by the quite closer "Something in the Way") will leave you wanting more after the disc stops spinning. "On a Plain" jumps straight in after a bit of feedback, with the first verse kicking off quite suddenly. Cobain's riff is great, and the chorus is catchy. Grohl's drumming is substantially above average once again, particularly those thumping tom-toms during the refrain of "I'm on a plain." Lyrics such as "love myself better than you" show off Cobain's salty side as well as his unique songwriting ability. It's a wonder this seemingly commercially viable track didn't get more radio play, but that doesn't stop it from being an excellent example of Nirvana in their Nevermind phase.

5. "All Apologies" - In Utero

Here's another track that is perhaps better known by its acoustic version, however, I've elected for the electrified edition of In Utero's final notes. While the MTV Unplugged performance is beautiful in its own right, I think the contrast between the extremely quiet verses and explosive chorus plays a particularly pivotal role here, perhaps more so than in any other Nirvana single, save "Smells Like Teen Spirit." In the verse, Cobain is upset but not necessarily angry, as he ponders his faults ("I wish I was like you") and asks questions like "what else should I be?" While it could be interpreted as passive-aggressive ("I'll take all the blame" and other lines like it could easily be interpreted as sarcastic), there's still no direct conflict involved. The bashful guitar riff and subdued drum beat back up this idea suitably. The chorus then brings an eruption of sound, with distorted guitars and Cobain's classic cry taking over. "All Apologies" manages to fit despair, regret, anger, self-blame, and even some philosophy ("all in all is all we are") into a stunning four-minutes.

4. "Where Did You Sleep Last Night?" - MTV Unplugged

The only performance of Nirvana's on MTV Unplugged to surpass the kick-starter, "About A Girl," is the closer, the absolutely breathtaking cover of Lead Belly's arrangement of an old folk song. Cello plays a prominent role in the build up to the song's stunning epicenter, as do two excellently-played verses. For a moment, everything drops but Cobain's whisper and quiet guitar. Then, unexpectedly, the late singer unleashes a desperate, shrieking, emotional plea, asking his love about a possible infidelity. The moment is even more powerful when seen on video, as Kurt's frail frame and sad blue eyes really paint a picture of what's going on behind the scenes with his troubled marriage. No one expected this kind of performance from the loud, wild grunge-punks from Seattle, but everybody was thankful for it once it came.

3. "Smells Like Teen Spirit" - Nevermind

Goodness, where to start. Well, if you don't know the deal with "Smells Like Teen Spirit," you might want to pay a bit more attention. Even for those who weren't alive to see it happen, myself included, it's well established that "Smells Like Teen Spirit" is the song that kicked off Nirvana's career, launched the grunge movement into the public eye at blistering speeds, and defined a generation of disaffected youth. "Teen Spirit" is possibly the most commonly analyzed song on Earth, a rare example of a piece of music that was and is hugely successful both commercially and critically. From the iconic drum into to Cobain's riff, to the instantly recognizable chorus, to the final wail of "let it die out," "Smells Like Teen Spirit" is an amazing song through and through. I don't have much else to say that hasn't already been said a thousand times before, except that it's quite remarkable that there could be two Nirvana songs better than this one, even if this list is completely subjective.

2. "Pennyroyal Tea" - In Utero

To be frank, much of Nirvana's discography is musically simple at first glance, and "Pennyroyal Tea" definitely falls under that categorization. A calm verse and loud chorus is nothing new for Nirvana, but on this track they do it particularly well. The chorus is one of their best, and the instrumental breakdown halfway through is outstanding in its sluggishness. The raw vocals are especially poignant during the bridge just after the solo, acting as a quiet before the final chorus's raucous storm. I also love the acoustic version, which is just Cobain on vocals and guitar, but it just missed the cut for me. I'm finding that it's hard to explain why I love this song so much, so hopefully the music can speak for itself.

1. "Heart-Shaped Box" - In Utero

Simply put, "Heart-Shaped Box" is in my humble opinion the greatest thing Nirvana ever did. Every single component of this song just works. The creepy guitar pattern creates a certain, definite mood of anticipation and uneasiness, matching the cryptic lyrics. The classic quiet-loud-quiet format is at work once again, with a volatile two-part chorus standing out among the group's other refrains. Between the crazed "Hey! Wait!" shouts and the sardonic "forever in debt to your priceless advice," the chorus is full of emotion. Cobain's growl was perhaps never better employed than here. Though the guitar solo simply mimics the melody, the distortion gives it that slightly-off feel that the song needs. "Heart-Shaped Box" is infectious, and while Kurt claims he's been locked in for four weeks, music fans have been trapped by the single for twenty years, and happily so.

Honorable mentions: "Pennyroyal Tea" (MTV Unplugged version), "School," "Dumb," "Scentless Apprentice," "Come As You Are," "Lithium," "The Man Who Sold the World"

Album of the Week: Pearl Jam - "Vs."

Rating: 8.7/10

Let's get this out of the way first; Vs. is by a decent gap my favorite Pearl Jam album, and one of my favorites from the grunge era as well. So, as the album celebrates it's 20th birthday this week, I thought I would take a deeper look at the Seattle group's sophomore effort. Serving as a smooth transition between Ten's arena-rock anthems and Vitalogy's darker and experimental themes, Vs. was Pearl Jam's first record made after the band were launched into superstardom by their 1991 debut. Hyped heavily after Ten's stunning commercial and critical success, the record did not disappoint those who wanted a more raw, natural Pearl Jam record. Lead singer Eddie Vedder was wild onstage, but internally was uncomfortable with this new-found fame. He turned off by the music business and how it abused musicians' art for personal gain, trying to dictate a movement they had no part in creating or following. He felt the divide between bands and their fans was widened significantly by music labels, who corporatized music that spoke out against those very actions.

Vedder vocalizes his concerns throughout Vs., which on the surface seems like a record about a relationship between two people, but actually represents the bond (or lack thereof) between bands and record labels. The person Vedder appears to be singing to on the album isn't a singular person at all, but the music industry as a whole. The themes clearly resonated with people, and Vedder's lyrics on Vs. received wide distribution: the album sold nearly one million copies in its first week of release alone. Of the songs on the record, the two that most directly examine these ideas are "Animal" and "Blood." The former, eventually released as a single, contains the refrain "I'd rather be with an animal." The lyric represents the intense desire and desperation for Vedder to leave whatever relationship he's dealing with, in this case the one between him and the media. The singer howls through the track as Dave Abbruzzese flys off the handle with his drum kit. "Blood" follows a similar vein as "Animal," incorporating funky guitar playing from the duo of Stone Gossard and Mike McCready and a malleable song structure. Vedder's primal scream at the end of the second chorus lasts an astonishing 10+ seconds, as he shouts "It's my blood," metaphorically chastising the music business for trying to control what is his personal property.

Vs. also contains Pearl Jam's first politically-charged songs. "Glorified G" is a scathing critique of American gun culture, employing lyrics such as "feels so manly when armed," "kindred to being an American," and "I can steal your heart from your neck" to the cause. "W.M.A." tackles racial profiling as tribal drums pound along for six minutes. The song tells the story of a time Vedder was with a black friend of his and his friend, but not him, was harassed by police for doing exactly what Vedder had been doing: nothing. Sonically speaking, the song grooves and swirls throughout as Gossard interjects with the occasional guitar flourish.

The album's two most well-known tracks, perhaps, are also its lightest. The fully-acoustic "Elderly Woman Behind the Counter in a Small Town" tells the story of, well, an elderly woman behind the counter in a small town, who recognizes a long-lost friend's face after decades of not seeing them. It's an amazingly realistic take on this perspective, considering Vedder was at the time not even thirty years old. The other light song is only partially acoustic, the song of course being "Daughter." Albeit overplayed, "Daughter" still charms with every listen. Vedder's lyrics here recall those of Ten track "Alive."

Vs. on the whole is a very lyrical album, as Vedder simultaneously opens himself up to and shoves away from the world. My personal favorite song on the album, "Rearviewmirror," discusses the feeling of leaving everything behind, probably something the singer was pretty much ready to do at this point. The jumpy riff propels the track forward as the chorus sets Vedder free. "I couldn't breath/holding me down," "time to emancipate," and "saw thing clearer once you were in my rearview mirror" all reveal the vocalist's displeasure with the way fame has treated him and his band. The desperation turns up a notch for the last two minutes of the song, as the guitars play higher and Vedder screams more. Often considered one of their best, "Rearviewmirror" is a fan favorite, and remains a staple in the group's ever-changing live setlist.

"Go" is another roarous tune from the CD, as a jam opening morphs into a more developed verse. Jeff Ament's bass line dominates the majority of the song, and the rest of the band races ahead, trying to keep up. "Dissident," though a radio hit, is one of the album's weaker tracks. A decent guitar riff is repeated too many times, though in totality the song still has some strength behind it.

At the backend of the record, "Rats" and "Leash" offer more firepower before the slow ballad "Indifference" concludes everything. "Drop the leash, get out of my f---in' face" orders Vedder on "Leash," a continuation of Ten's "Why Go." For a group so clearly trying to escape superstardom, it's odd Pearl Jam would harken back to what made them so popular in the first place on Vs. "Rats" is another funk-inspired track, as a loose band jams along to Eddie Vedder's signature growl. "Indifference" closes on a somber note, with instrumentals only backing Vedder's vocals in a minimal fashion.

Vs. is one of those albums that, though twenty years old, just as easily sounds twenty days old. Besides "Dissident," which still holds its ground, every song is great if not stellar. Tracks like "Rearviewmirror" and "Go" are undeniably Pearl Jam, and thankfully will never go away. Not dated and often imitated, Vs.'s raw sound is one of the highlights of the early '90's, and certainly a high point in Pearl Jam's illustrious career.

Key Tracks: "Rearviewmirror," "Go," "Glorified G," "Daughter"

Album of the Week: Nirvana - "In Utero"

Rating: 9.0/10

September 13th, 1993, was a momentous day in alternative rock's history. Exactly twenty years ago from today, grunge gods and cultural icons Nirvana released their third and final studio album, In Utero. The album was one of the most highly-anticipated releases of all time, following the staggering success of 1991's Nevermind. The impact of songs like "Smells Like Teen Spirit," "Lithium," and "Come As You Are" is legendary and well-documented; Nevermind turned radio and MTV on their heels and set the stage for alternative rock's takeover of the mainstream for the first half of the 1990's. Kurt Cobain's apathy and disaffection with the celebrity lifestyle connected with such a large portion of the American youth at the time that he became known as the John Lennon of Generation X.

So, needless to say, there was a lot of hype surrounding the follow-up album to Nevermind, to say the least. What In Utero turned out to be was something only a handful of bands have ever been able to do: a somewhat substantial change in musical direction while maintaining the artist's trademark sound. Angrier, heavier, and more raw than its predecessor, In Utero ended up just as good (if not better) a record as Nevermind. Few bands before or since have been able to make such a drastic change musically following an immensely popular album, as Nevermind was, without the end result being a major disappointment. Nevermind's rough yet clear production was tossed away in favor of a muddier sound, with Cobain electing for a more distorted guitar sound while drummer Dave Grohl made his drum beats trashier and more aggressive. So abrasive and unsettling was the album's sound that Nirvana's record label tried to force Cobain into re-writing the album, but (thankfully) he refused, and released the record as he intended to. Nirvana was giving a huge middle finger to the music industry, but instead of shying away, as so often is the case, the group's fans embraced their new sound. During the two years between Nevermind and In Utero, the 20-somethings of the country had, like Cobain, grown more and more exhausted of American pop culture and the way we treat celebrities. Cobain was the antithesis of everything a rock star was perceived to be; he was sloppy, brutally honest, outspoken, and most of all, himself. Throughout the '80's the rock scene was dominated by hair metal bands. Sick of long hair, flashy costumes, and fake public images that seemed to have more effort put into them than the actual music, Generation X gravitated towards a man who came along at the perfect moment. Finally, someone had come into the public eye with whom they could really connect. Thus, when In Utero showcased Kurt's strong disdain for the fame he'd found post-Nevermind, critics and fans alike passionately sang their praises of the record.

Never before had Cobain's resentment of pop culture been more apparent than on In Utero. Three tracks standout as the most violent and thus most indicative on the record; "Very Ape," "Milk It," and "Tourette's" were all straight-up punk-onslaughts as Kurt's growl morphed into a visceral scream over some of the heaviest instrumental work Nirvana ever did. While the entire album follows this sentiment, these particular songs are the most extreme of the bunch. Still, hidden somewhere under the muck and mire is Kurt's ear for delectable melodies, although it may be hard to hear behind all of his anger. This trio of tracks emphasizes the difference between Cobain's personality and his music is striking. For someone who was typically very calm and low-key in interviews and at public events, Cobain sure knew how to be loud on a cassette tape.

"Scentless Apprentice" is another of In Utero's more difficult tracks, though more structured than the aforementioned ones. Sure, the chorus (if you can call it that) of "go away, get away" is utter chaos, but somehow the song feels more structured than some of the other "heavy" songs. The same goes for "Radio Friendly Unit Shifter," which cheekily mocks mainstream radio for hardly ever taking risks and instead playing what some would consider "safe" music.

While all five of the songs discussed above certainly hold significance, In Utero's strongest tracks are slightly more subdued and more of a cross between Nevermind's pop sensibilities and In Utero's abrasiveness. One of these songs is the album's opener, "Serve the Servants." After a noisy opening verse, Cobain pulls back and delivers a hook more gloom than doom. The reverse occurs on "Frances Farmer Will Have Her Revenge on Seattle," as the verse's slithering bass line gives way to harsh guitar feedback and a raucous chorus. What follows it is without a doubt the lightest song on the record, and possibly also the most emotionally honest one. "Dumb," with its downtrodden lyrics and subtle string section, is a truly astoundingly composed piece. Cobain has always been a highly revered songwriter, but "Dumb" was the first time he didn't mask his emotion behind a wall of noise. Sure, "Polly" (from Nevermind) was acoustic enough, but that song didn't feel nearly as personally as "Dumb" does. "Dumb" also presented listeners with a hint of what Kurt could do without an amplifier or distortion effect, something the world would see during Nirvana's legendary MTV Unplugged show two months after In Utero's release.

Another highlight from the record is the lead single "Heart-Shaped Box," allegedly about Cobain's relationship with his soon-to-be-widowed wife and Hole lead singer, Courtney Love. A quiet-quieter form to the verse draws you in with its plucked guitar riff and soft drum pattern before the chorus takes a 180. Grohl pounds on his kit, delivering his best performance on the record, and Kurt's howled "Hey! Wait!" refrain never gets old.

The fourth and also probably the darkest song on the record is "Rape Me." The ambitious, defiant, and risky tune is a great example stellar quiet-loud sound Nirvana adopted from the Pixies. The guitar riff is one of Kurt's best, and that chorus is pure power. Though Kurt's intended meaning for the song is the most obvious one of speaking out against sexual assaults, but many have also viewed the track as describing Kurt's being uncomfortable with the constant invasion of his privacy by the press.

"Pennyroyal Tea" is a song that showcases Kurt at his lowest and is the most glaringly obvious hint of Cobain's depression and impending suicide. Lyrics such as "Distill the life that's inside of me" display Kurt at his lowest point. Coincidentally, the release of the song as a single was cancelled as Cobain's suicide took place just before the intended release in April, 1994. Nirvana songs like this one take on a much sadder meaning knowing what would become of Kurt Cobain, and resonate more with listeners.

The album closer, "All Apologies," rounds up In Utero in an odd way. For such a loud album, In Utero closes not with a bang but a simmer. One of the softer tracks on the record, "All Apologies" rings true to Kurt's emotions in a similar way to "Dumb," by putting away the screams for a bit and focusing on the orchestration. Since Kurt was not a violent individual, it makes sense he would say goodbye with a subdued, cynical track. It would turn out to be the last song on Nirvana's final studio release, and what a way to bow out. The rush of emotion after the second chorus of "married, buried" never fails to amaze, and the repetition of the final line is just perfect.

Who knows what would've become of Nirvana had Kurt Cobain lived past the age of 27? Maybe they would've burned out as the new era of pop-punk groups took over in the late '90's. More likely is the possibility that Nirvana would have continued to make fine record after fine record, possibly even shifting the future of the music industry for the better. "Alternative" would fail to live up to its name as the loosely-named genre would be the more common form of music. However, what really happened to Nirvana was probably and unfortunately how it was destined to be. The group relied so much on youth angst that it's hard to imagine a 35+ year old Cobain singing in the same way he did on these iconic records. Eventually, the band would've been a parody of itself as a new generation of young people took over, the group losing touch with the same target audience it once so sincerely connected with. The surviving members of the band, probably realizing the angst-y path was no longer the best option, steered clear of apathy in their later endeavors; Dave Grohl's post-Nirvana band Foo Fighters sing triumphantly and proudly, and Novoselic became a state senator in Washington, joining the authority his group so eagerly rebelled against some twenty years ago. They say an untimely death makes any kind of artist more appreciated, but in Cobain's case, Nirvana were icons as soon as "Smells Like Teen Spirit"  was put on tape. So, on this day, twenty years after the release of one of the most iconic and well-crafted pieces of music ever recorded, I'll leave you with the last words off the last Nirvana album. Make sure to check out In Utero if you somehow haven't already, and never forget, "all in all is all we are."

Key tracks: "Heart-Shaped Box," "Rape Me," "Dumb," "Pennyroyal Tea," "All Apologies"