Nevermind is the second studio album by American rock band Nirvana, released on September 24, 1991, by DGC Records. Produced by Butch Vig, Nevermind features a more polished, radio-friendly sound than the band's prior work. It was recorded at Sound City Studios in Van Nuys, California, and Smart Studios in Madison, Wisconsin, in May and June 1991, and mastered that August at the Mastering Lab in Hollywood, California. Nevermind was Nirvana's first album to feature drummer Dave Grohl.
Written primarily by frontman Kurt Cobain, the album's lyrical themes include social alienation and frustration, anti-establishment and feminist views, and relationship issues; these were more sensitive compared to what was common in mainstream rock music at the time. Musically rooted in grunge and alternative rock, the album also features acoustic ballads and punk-inspired hard rock.
Nevermind was an unexpected success, topping the Billboard 200 in January 1992. The lead single, "Smells Like Teen Spirit", reached the Top 10 of the Billboard Hot 100 was later inducted into the Grammy Hall of Fame. The singles "Come as You Are", "Lithium", and "In Bloom" were also successful. Nevermind was voted the best album of the year in Pazz & Jop critics' poll, while "Smells Like Teen Spirit" also topped the single-of-the-year and video-of-the-year polls. It was nominated for three Grammy Awards, including Best Alternative Music Album.
Nevermind brought Nirvana worldwide fame, with Cobain dubbed by many as the "voice of his generation". The album is generally credited with bringing grunge and alternative rock to a mainstream audience, accelerating the decline of hair metal, and initiating a resurgence of punk culture among the youth of Generation X. Nevermind has sold more than 30 million copies worldwide, making it one of the best-selling albums of all-time. In 2024, it was certified 13 times platinum by the Recording Industry Association of America. Nevermind was added by the Library of Congress to the National Recording Registry in 2004 as "culturally, historically, or aesthetically significant", and frequently appears on lists of the greatest albums.
Background and early sessions In early 1990, Nirvana began planning their second album for their record company Sub Pop, tentatively titled Sheep. At the suggestion of Sub Pop head Bruce Pavitt, Nirvana selected Butch Vig as producer.Classic Albums—Nirvana: Nevermind [DVD]. Isis Productions, 2004. The band particularly liked Vig's work with Killdozer.Hoi, Tobias. "In Bloom". Guitar World. October 2001. They traveled to Vig's Smart Studios in Madison, Wisconsin, and recorded from April 2 to 6, 1990. Most of the basic arrangements were complete, but songwriter Kurt Cobain was still working on lyrics and the band was unsure of which songs to record.Berkenstadt; Cross, p. 29 Ultimately, eight were recorded, some of which were later rerecorded for Nevermind: "Imodium" (later renamed "Breed"), "Dive" (later released as the B-side to "Sliver"), "In Bloom", "Pay to Play" (later renamed "Stay Away"), "Sappy", "Lithium", "Here She Comes Now" (released on Heaven & Hell: A Tribute to the Velvet Underground), and "Polly".Azerrad, 1993. p. 137
On April 6, Nirvana played a local show in Madison with the Seattle band Tad. Vig began to mix the recordings while the band gave an interview to Madison's community radio station WORT on April 7.Nirvana - 04/07/90 - (Interview) WORT Radio Studio, Madison, WI. YouTube. July 6, 2021. Retrieved March 28, 2023. Cobain strained his voice, forcing Nirvana to end the recording. On April 8, they traveled to Milwaukee to begin an extensive Midwest and East Coast tour of 24 shows in 39 days.
The drummer Chad Channing left after the tour, putting additional recording on hold. During a show by the hardcore punk band Scream, Cobain and the bassist Krist Novoselic were impressed by their drummer Dave Grohl. When Scream unexpectedly disbanded, Grohl contacted Novoselic, traveled to Seattle, and was invited to join the band. Novoselic said in retrospect that, with Grohl, everything "fell into place".
By the 1990s, Sub Pop was having financial problems. With rumors that they would become a subsidiary of a major record label, Nirvana decided to "cut out the middleman" and look for a major record label. Nirvana used the recordings as a demo tape to shop for a new label. Within a few months, the tape was circulating among major labels.Azerrad, 1993. p. 138 A number of labels courted them; Nirvana signed with Geffen Records imprint DGC Records based on recommendations from Kim Gordon of Sonic Youth and their management company.Azerrad, 1993. p. 162
After Nirvana signed to DGC, a number of producers were suggested, including Scott Litt, David Briggs, Don Dixon, and Bob Mould.Azerrad, 1993. p. 164–65 Novoselic said the band had been nervous about recording under a major label, and the producers suggested by DGC wanted percentage points. Instead, the band held out for Vig, with whom they felt comfortable collaborating.Cross, Charles R. "Requiem for a Dream". Guitar World. October 2001.
Recording With a budget of $65,000, Nirvana recorded Nevermind at Sound City Studios in Van Nuys, California, in May and June 1991.Sandford 1995, p. 181 To earn gas money to get to Los Angeles, they played a show at Seattle's OK Hotel on April 17, 1991 where they performed "Smells Like Teen Spirit" for the first time. The band sent Vig rehearsal tapes prior to the sessions that featured songs recorded previously at Smart Studios, plus new songs including "Smells Like Teen Spirit" and "Come as You Are".Azerrad 1993, p. 167
Nirvana arrived in California and spent a few days rehearsing and working on arrangements.Azerrad 1993, p. 169 The only recording carried over from the Smart Studios sessions was "Polly", including Channing's cymbal crashes. Once recording commenced, the band worked eight to ten hours a day.Azerrad 1993, p. 174
Despite receiving a $287,000 advance upon signing with Geffen, Cobain retained a preference for inexpensive equipment—particularly Japanese-made Fender guitars, due to their skinny necks and wider availability in lefthanded orientation. These included several Stratocasters fitted with humbucker pickups in the bridge positions, as well as a 1965 Jaguar with DiMarzio pickups and a 1969 Mustang, the latter of which Cobain cited as his favorite due to its design flaws. For the album, Cobain bought a rackmount system featuring a Mesa/Boogie Studio preamp, a Crown power amp, and Marshall cabinets. He also used a Vox AC30 and a Fender Bassman. Vig preferred not to use pedals, but he allowed Cobain to use a Boss DS-1 distortion pedal, which Cobain considered a key part of his sound, as well as an Electro-Harmonix Big Muff fuzz pedal and a Small Clone chorus.
Novoselic and Grohl finished their tracks in days, while Cobain worked longer on guitar overdubs, vocals, and lyrics. He sometimes finished lyrics minutes before recording.Azerrad 1993, p. 176 Vig recalled that Cobain was often reluctant to record overdubs, but he was persuaded to double-track his vocals when Vig told him that John Lennon did it. Though the sessions generally went well, Vig said Cobain would become difficult at times: "He'd be great for an hour, and then he'd sit in a corner and say nothing for an hour."
Mixing and mastering Vig and the band were unhappy with Vig's initial mixes and decided to bring in someone else to oversee the mixing. DGC supplied a list of options, including Scott Litt, known for his work with R.E.M., and Ed Stasium, known for his work with Ramones and the Smithereens. Cobain was concerned about bringing in well known producers, and instead chose Andy Wallace, who had co-produced Slayer's 1990 album Seasons in the Abyss.di Perna, Alan. "Grunge Music: The Making of Nevermind". Guitar World. Fall 1996. Novoselic recalled, "We said, 'Right on,' because those Slayer records were so heavy."Berkenstadt; Cross, p. 96
Wallace's mixes most notably altered the drum and guitar to create a more polished sound.Azerrad 1993, p. 179–80 Wallace used kick and snare samples to drive reverb sounds, as opposed to replacing the original sounds. According to Wallace and Vig, the band loved the results.Berkenstadt; Cross, p. 99 However, they criticized it after the album was released. Steve Albini, who engineered Nirvana's next album, In Utero (1993), said Vig's initial mix "sounded maybe 200 times more ass-kicking" than the final version of Nevermind and that Nirvana referred to it while working on In Utero. He said that Vig was an excellent engineer who "had a good, sympathetic relationship with all the noisy bands he recorded in the 80s", which was why Nirvana had hired him.
Nevermind was mastered by Howie Weinberg on the afternoon of August 2 at the Mastering Lab in Hollywood, California. Weinberg started working alone when no one else arrived at the appointed time in the studio; by the time Nirvana, Andy Wallace, and Gary Gersh arrived, he had almost finished.Berkenstadt; Cross, p. 102 A hidden track, "Endless, Nameless", intended to appear at the end of "Something in the Way", was accidentally left off initial pressings of the album. Weinberg recalled, "In the beginning, it was kind of a verbal thing to put that track at the end [...] Maybe I didn't write it down when Nirvana or the record company said to do it. So, when they pressed the first twenty thousand or so CDs, albums, and cassettes, it wasn't on there." Cobain called Weinberg and demanded he rectify the mistake.Berkenstadt; Cross, p. 103
Music At the time of writing Nevermind, Cobain was listening to bands such as Melvins, R.E.M., the Smithereens, and Pixies, and was writing songs that were more melodic. A key development was the single "Sliver", released on Sub Pop in 1990 before Grohl joined, which Cobain said "was like a statement in a way. I had to write a pop song and release it on a single to prepare people for the next record. I wanted to write more songs like that."Azerrad, 1993. p. 145 Grohl said that the band at that point likened their music to children's music, in that they tried to make their songs as simple as possible.
Cobain fashioned chord sequences using primarily power chords and wrote songs that combined pop hooks with dissonant guitar riffs. His aim for Nevermind's material was to sound like "the Knack and the Bay City Rollers getting molested by Black Flag and Black Sabbath".Lewis, Luke. "Nirvana – Nevermind". Q: Nirvana and the Story of Grunge. December 2005. Many songs feature shifts in dynamics, whereby the band changes from quiet verses to loud choruses. Grohl said this approach originated during a four-month period prior to the recording of the album, when the band would experiment with extreme dynamics during regular jam sessions.di Perna, Alan. "Absolutely Foobulous!" Guitar World. August 1997.
Guitar World wrote, "Kurt Cobain's guitar sound on Nirvana's Nevermind set the tone for Nineties rock music." Cobain played a 1960s Fender Mustang, a Fender Jaguar with DiMarzio pickups, and a few Fender Stratocasters with humbucker bridge pickups. He used distortion and chorus pedals as his main effects, the latter used to generate a "watery" sound on "Come as You Are" and the pre-choruses of "Smells Like Teen Spirit"."Cobainspotting". Guitar World. October 2001. Though the album is considered a cornerstone of the grunge genre, it is noted for its musical diversity, which includes acoustic ballads ("Polly" and "Something in the Way") and punk-influenced hard rock ("Territorial Pissings" and "Stay Away").