A Beginner's Guide To Grunge

Grunge – or “the Seattle sound” as it’s also known, named after its place of origin – started blooming in the ’80s, with indie label Sub Pop Records at the centre. By the ’90s, it had taken alternative rock by storm and had transformed it into a viable mainstream commodity with the style spreading across the United States and even giving birth to bands all over the world.

Its roots can be traced back to the earlier heavy metal and hardcore punk movements, drawing from the former’s thunderous volumes and the latter’s chaotic atmosphere, marked by its tendencies towards raw, fuzzy guitars, soft-loud song dynamics and moody lyrics – not to mention its generally scruffy appearance. With many practitioners of the style signed to major record labels and recording multi-platinum selling albums, grunge was, in its time and at its peak; the most popular form of heavy and alternative music worldwide and although it only lasted until the late ’90s, its influence has carried over into rock music of the modern era.

As somebody who discovered and subsequently became obsessed with Nirvana at the tender age of 12 (I don’t listen to them as much anymore but whenever I do, I always think to myself “Nirvana were claaaaass…“), and as somebody who saw Alice in Chains support Metallica at Marlay Park in 2009 and as a result lost his voice. I write this as a self-proclaimed expert and scholar on the subject of grunge and its importance. So, if you haven’t dived into its muddy waters yet; have no fear – the Beginner’s Guide to Grunge to help you through the sludge the right way.

Start Here: The Big Four. Nirvana – 'Nevermind' (1991), Pearl Jam – 'Ten' (1991), Alice in Chains – 'Dirt' (1992), Soundgarden – 'Superunknown' (1994)

Frankly, if you haven’t at least heard these albums by now; you’re doing music wrong and you should be ashamed of yourself, but I digress. What is most noticeable from these – arguably the best albums from arguably the most best and certainly the most iconic and successful bands of the era – is that despite the shared characteristics of the bands within the Seattle scene, there was a lot of diversity within it.

Nirvana’s 'Nevermind' is an album that managed to equally draw from the wells of power pop, hardcore punk and heavy metal to create something that was as much catchy as it was dissonant and heavy. Principal songwriter and ill-fated frontman Kurt Cobain’s keen sense of pop sensibility on 'Nevermind' was matched only by his blatant adoration for – and perfection of – the Pixies’ signature quiet/loud song dynamics. The album is jam packed with instant classic tunes, which explains its meteoric rise to the top of the charts worldwide and unprecedented selling power. While many (including myself) would argue that Nirvana would go on to achieve better things from an artistic standpoint on their follow-up album 'In Utero' (1993), you will not find a better introduction to the Seattle sound than 'Nevermind'.

The track listing to 'Ten' by Pearl Jam similarly reads like a greatest hits compilation, its sound is inspired more so by ’70s classic rock than by The Knack, Black Flag or Black Sabbath giving it a more anthemic feel than its deliberate, catchy rival. The album took cues from stadium-fillers Led Zeppelin, what with its harmonised, bombastic guitar sound courtesy of Stone Gossard and Mike McCready, and driving rhythms propelled by the work of bassist Jeff Ament. Unique and paramount to Pearl Jam’s success was frontman Eddie Vedder’s oft imitated but never matched baritone vibrato and post-punk-esque heavy lyrical subject matter. Such was the power of 'Ten' that it remains Pearl Jam’s most commercially and critically successful album of their 20+-year career to date.

Alice in Chains were always closer to heavy metal than to traditional grunge, but were bound by geographical origins to the umbrella term. Though they had made a significant impact with their debut full-length 'Facelift' (1990), ‘Dirt’ brought them a wider fan-base and recognition. Brooding and introspective where Pearl Jam were life affirming and invigorating and Nirvana were beautifully dysfunctional; Alice in Chains’ refined their already established grinding, sludgy sound on 'Dirt', crafting songs about many harrowing topics, the most prominent being Layne Staley’s already chronic (and ultimately, fatal) addiction to heroin.

Soundgarden were the first band from the Sub Pop scene to sign a major record label, and while previous efforts 'Louder Than Love' (1989) and 'Badmotorfinger' (1991) were modest successes in their own right, the group had spent more time building a solid fan-base by perfecting their live show. Finally, in 1994, they had a collection of songs worthy of their epic reputation. 'Superunknown' saw the band jettison their earlier punk influences but maintain their metallic overtones and reconcile them with a growing interest in psychedelia and pop music. Experimental and diverse, even though “Nirvana-mania” was the craze of the time, 'Superunknown' and its worldly flavours would be the closest a grunge record would come to Beatles-esque artistry.

Essential listening: Smells Like Teen Spirit, Come As You Are, Polly ('Nevermind'); Even Flow, Jeremy ('Ten'), Would? ('Dirt'), Black Hole Sun ('Superunknown').

What’s Next? The Early Years. Mudhoney – 'Superfuzz Bigmuff' (1988), Nirvana – 'Bleach' (1989), Tad – 'God’s Balls' (1989) Mother Love Bone – 'Apple' (1990)

When the major label bidding wars began, the smart money would have been on trendsetters Mudhoney to make it to the big time. While they never did reach the dizzying heights of their former Sub Pop label-mates Soundgarden or Nirvana; or former bandmates Gossard and Ament of Pearl Jam, who previously released two EPs and album as part of Green River, which also featured Mudhoney’s Mark Arm and Steve Turner on vocals and guitar respectively. Nonetheless, they maintained a strong cult following right from the word go with 'Superfuzz Bigmuff'; their debut EP. Its filthy, scraping guitar sound, tight rhythm section and Arm’s vicious howl and penchant for intelligent, darkly humorous and sexual lyricism makes a strong case that the Seattle sound hit its peak before the money rolled in.

Labelmate Kurt Cobain, himself a self-professed Mudhoney admirer; would record his debut LP with best friend and bassist Krist Novoselic and drummer Chad Channing just a year later for a measly $600-odd. Though not as pop-sensible or artful as the work Nirvana would go on to achieve, 'Bleach' does offer up a solid example of the music Sub Pop were endorsing at the time, members of the band citing influence from Celtic Frost, The Smithereens, Aerosmith and other bands on the Sub Pop label at various interviews that reflected on the album’s recording. Nirvana already had their devil-may-care nonchalance down to a science; the pretty chaos was a mere album and major label budget away.budget away.budget away.

Tad is one of the more forgotten bands of the grunge era. Lauded by purists, Nirvana’s former touring buddies weren’t afforded the same success as their peers. Fronted by burly singer/songwriter/guitarist Tad Doyle; the band eschewed the punk influence of many of their contemporaries in favour of a sound more indebted to ’70s heavy metal, with massive guitar riffs and staggering chord progressions. While many saw the potential in Tad, and a few major labels did court and even sign the band, they were damned by their taste for ludicrous album and song titles and ill-advised cover art – look no further than 'God’s Balls' for evidence of all of the above.

Mother Love Bone’s 'Apple' is a posthumous release that serves as an unfortunate document of what could have been. Formed by guitarist/bassist duo Stone Gossard and Jeff Ament after the break-up of Green River with the flamboyant, charismatic and androgynous Andrew Wood, it matched all of the usual grunge influences with T-Rex inspired glam stomp. The band was tipped for superstardom but unfortunately, Wood would die months before the album’s eventual release of an accidental heroin overdose. Stone and Gossard would eventually become rock legends with Pearl Jam, but the influence of 'Apple' and the early performances of Mother Love Bone on the Seattle scene are undeniable.scene are undeniable.

Essential listening: Hate The Police ('Superfuzz Bigmuff'), About A Girl, Negative Creep ('Bleach'), Nipple Belt ('God’s Balls'), Stardog Champion, This Is Shangri-La, Stargazer, Crown Of Thorns ('Apple')

Now Try…: 'Foxcore'. Hole – 'Live Through This' (1994), Babes In Toyland – 'Fontanelle' (1992), L7 – 'Bricks Are Heavy' (1992).

Though Messrs Cobain and Vedder were both vocal champions of many issues – among them race relations, gender relations, LGBT and abortion rights – but a woman’s place in the world is not fully understood until a woman can speak out herself. Luckily enough, there was plenty of room on the floor for some female-fronted and all female bands during the grunge era; and frankly, they rocked balls.

L7 were by no means poster girls for the feminist movement (frontwoman Donna Sparks was infamous for two particular incidents on Channel 4’s transgressive talk/music show The Word, and another that I won’t get into too much detail about at Reading Festival ’92) but proved worthy of a temporary position as poster girls of the grunge movement with their third album. Filthy, heavy, and as infectious as a bad rash; the album was produced by Butch Vig, who had previously worked with Nirvana, Smashing Pumpkins and Sonic Youth. 'Bricks Are Heavy' was a smash hit, and a massive influence on the later, more enlightened riot grrl movement.

'Fontanelle' was Babes In Toyland’s major label debut, co-produced by frontwoman Kat Bjelland and Sonic Youth guitarist Lee Renaldo. Primitive and furious, the album was their greatest critical and commercial achievement, landing the band a place on the Lollapalooza tour alongside the likes of Rage Against The Machine and Alice In Chains. Sadly, the band would only record another album, failing to match the success of “Fontanelle”, before breaking up.

 

'Live Through This' was Hole’s sophomore album, ironically released a mere month after the death of frontwoman Courtney Love’s husband Kurt Cobain. With an album this strong, it’s debatable whether Love’s reputation and legacy will be cemented as a total public spectacle or a truly gifted musician and songwriter in her own right. Taking a more melodic approach to song-craft than the fluffy hardcore punk heard on debut 'Pretty On The Inside', the album documents Love’s genuine feminist ideals and preoccupation with beauty. Both heavy and melodic, 'Live Through This' features a multitude of songwriting techniques, moods and instrumentation to marry the band’s earlier noise-rock sound with a more mellow power pop sound.

Essential listening: Pretend We’re Dead ('Bricks Are Heavy'), Handsome And Gretel, Bruise Violet ('Bruise Violet'), Doll Parts ('Live Through This')

If You’re Really Interested: The Best Of The Rest…

Sub Pop released three compilations; 'Deep Six, 'Sub Pop 100? and '… 200?'; all of which offer a great insight into the early development of the scene and a wealth of otherwise unreleased material from bands both legendary and overlooked – all three of which are well worth tracing and listening to.

 

 

Temple Of The Dog – a recording project by members of Soundgarden and former members of Mother Love Bone/future members of Pearl Jam – recorded a once off self-titled album as a tribute to the late Andrew Wood that features the debut of vocalist Eddie Vedder on some tracks on the album. An emotional tribute to Wood, the album stands the test of time as a grunge classic in its own right.

 

 

Screaming Trees were mainstays of the grunge scene, from the Sub Pop days up until their eventual dissolution in 2000. They set themselves apart from their peers by incorporating folk and psychedelic influences in place of the hardcore punk typical of the style. Though they never achieved the same level of success of their former label-mates, they did go out with a bang on their final LP 'Dust', arguably their greatest critical and commercial success.

 

Of course, Nirvana would go on to record 'In Utero' in 1993, and the following year the live recording of their much lauded MTV Unplugged performance was released as an album. Alice In Chains’ debut 'Facelift' (1990) and self-titled album (1996) are noteworthy albums, as are Soundgarden’s albums 'Badmotorfinger' (1991) and 'Down On The Upside' (1996). Pearl Jam is still recording to this day.

 

 

Also recommended is the Stone Temple Pilots compilation album 'Thank You'. The band was in their time adored by fans and despised by critics, but in hindsight, the grunge era did not produce a better singles band.

Avoid: Post-grunge.
Silverchair. Everclear. Bush. You can unpolish a turd again but… Foo Fighters get a pass, though. A bit. Dave Grohl is sound.