![Nevermind [20th Anniversary Edition]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vJcRYg2tC-h7LoUQScXoHEFXUy_S3TgS8-xrhtvJHi0pgkiQHAgXfKHbKk3MyqMpNIHnAGUzt3-negH6eUQoi6lOYsSSeN-hNrleBOjIZ0laDRTlsPQZwOk-g_Xzl8U3g-CJ1B-94XrqSD1p_SMg=s0-d)
Despite its tremendous influence on the mainstream rock that followed, it's hard to think of another album that sounds much like Nirvana's Nevermind, a record with so much more popand punk punch than any music it inspired. Of course, no diamond-certified, canonical treasure hitting the two-decade mark can be left well enough alone in 2011-- especially one that changed the lives of a lot people now approaching middle age, with the discretionary income to prove it. After all, "super deluxe" reissues of classic albums don't even have to be tied to an anniversary these days. But Nevermind is 20 this week, still a pretty respectable number in a world where any milestone marks an excuse to shift a few more units. The only question is whether these reissues-- a single-disc remaster, a 2xCD "deluxe" version, and a 4xCD+DVD "super-deluxe" edition-- are that rare essential repurchase that makes you hear an album you've possibly exhausted in new ways, or if it's just another mediocre jumble of odds and ends that inadvertently reveals the flaws and blemishes carefully excised from the original 12-song set.
Sadly, both expanded versions fall into the latter category, with material ranging from "interesting" to "historical curiosity" to "of zero value to even superfans." But this mish-mash of sketches, practice-space woodshedding, and alternate-but-not-very mixes does help explain what makes Nevermind so unique. Nirvana certainly never made another album like it. The precocious Bleach still has its partisans, folks who think its primal bash-and-howl is the be-all-end-all of rock, while In Utero stands as the band's most harrowing statement, where it's a toss-up as to whether the riffs or the lyrics hurt more. But Nevermind was and remains an unrepeatable object. It retains the gleeful pummel of the first album while hinting at the bleakness of the third. Yet there's also a concision and clarity that Nirvana hadn't quite mastered on the gnarly-by-necessity Bleach and wouldn't allow themselves on the stark and caustic In Utero.
Nirvana began their career with no illusions about their chances for mass success and ended it by seeing just how abrasive a platinum-selling band could get away with being. But when they got their chance at the brass ring, they went at it with a bubblegum band's canniness, however much Cobain shit on the shiny final product after the fact. Andy Wallace's radio-ready mix certainly helped sharpen this potentially no-concessions, indie-to-major leap into an obvious commercial proposition. But even if they'd settled on producer Butch Vig's slightly less slick mixes-- made as a reference for the band and identified on the super deluxe edition's third disc as the "Devonshire mixes"-- Nevermind would likely have fared well in the charts, since these early passes aren't far from Wallace's infamous high-gloss version. Listening in hindsight, though, they have the woozy effect of feeling just slightly off, leaving you to focus only on what's missing.
The box set does make clear that Nirvana honed these songs over a long period. Listening to the various sessions leading up to the one that gave us the album we know-- especially the nearly unlistenable "boombox" mixes of early demos-- you learn very quickly that these songs didn't arrive perfectly formed in one sustained burst of inspiration. The hours of rehearsals and the expensive time spent tinkering in the studio shaped them into classics. It helped that there are songs on Nevermind that might appeal to people who've never heard a hardcore album in their lives, who might have even (gasp!) kinda liked the glossier hard-rock bands whose era largely ended with the rise of grunge. Moving away from the heavy-at-all-costs sound he'd always been both enamored with and suspicious of, Cobain worked diligently on his big hooks and decided to stop smothering his natural melodic gifts under so much self-conscious sludge.
The key was that Nirvana, unlike many of their indie peers, didn't assume that intensity was incompatible with polish. Cobain's discomfort could be unnerving because it sounded as unmediated as anything allowed on the radio could get. There was too much pop-rock study involved to claim Nevermind as some kind of art brut document of one dude's unraveling. Confronted with something like "Polly", Cobain's distress was obvious in 1991, long before his shotgun-assisted exit. But it wasn't the way Nevermind exposed Cobain's psychic wounds that provided support for those who related to him. It was the fact that, fucked up as he was, Cobain still found pleasure in rock's most emphatic clichés and bent them to his own never-quite-smirking ends. He snuck into the spotlight while remaining an alienated weirdo, but for a while there, you suspected he was enjoying the attention, even if he knew that it was all a joke to be taken about as seriously as high school cliquishness. "Territorial Pissings" is as raw as any punk song I know, but it actually found its way into the hands of suburban tweens. How good must that have felt, to be responsible for such a thing?
Even as they moved toward the mainstream, Nirvana were trying shit that no one would have called an easy route to success. Nevermind is drenched in the filthy Pacific Northwest roar that slapped Cobain into action as a teen, but it's as catchy as any of the radio giants that caught his ear as a kid. It's driven by pain as naked and personal as the riot grrrl bands whose company he kept and as fuck-around goofy as the Seattle contemporaries who both reveled in and mercilessly parodied machismo. And despite the fact that none of those modes would seem to fit together on the same album, let alone all of them, it's all hammered into a still-disarming whole, a collection of anthems that retain the idiosyncrasies of the very weird band that made them. It helped that Cobain had yet to be disabused of the idea that you could be an idiosyncratic indie kid and a rock star without compromising on either front.
That's probably why the bonus material here feels less like a revelation and more like the kind of peek-behind-the-curtain that you wind up regretting. Nevermind is basically a great fake-out. It presents itself as an off-the-cuff explosion, a from-the-gut expression of realness and energy in the grand punk tradition, but it was actually the product of a shit ton of hard work. If you don't hold with the first-take-is-the-best-take philosophy, your respect for Cobain may actually increase when you realize how dedicated he was to getting every element right. Listening to him fumbling his way toward greatness on the "boombox" mixes of songs like "Come as You Are" and "Something in the Way" or hearing a newly cemented group working out the kinks in their interplay in the studio, you may also realize that you don't want to hear the missteps and rewrites and second guessing that went into the perfect-as-is final product. The "boombox" mixes, Devonshire mixes, and Smart Sessions (early Vig-produced takes recorded with drummer Chad Channing that were initially intended for release on a second album for Sub Pop) are largely work tapes. Listening to them feels like studying every unused scrap of a film classic that someone managed to sneak out of the editing room, which is about as fun as that description makes them sound. If you've always been suspicious of the album's production sheen, there's no Holy Grail here that's going to give you the raw take you're looking for.
For all its finessing and tweaking, though, Nevermind is still a thousand times closer to the unpremeditated intensity of Cobain's D.I.Y. days than any of the post-grunge rockers who claimed it as an influence. I defy you to listen to any of the live performances on this edition-- the only essential extras, though less uncomfortably intense than 1994's MTV Unplugged set and less definitive and uniformly powerful than 2009's release of their king-making set at the 1992 Reading Festival-- and not hear a ragged, joyful, charismatic band that makes those inert, angst-ridden followers sound like they come from another aesthetic universe.
That charisma is a big reason why Nevermind remains a 10. But in-concert takes on "Sliver" and "Been a Son" that are the third most thrilling live versions officially available on CD? It's not as if all this "exclusive" dreck-- most of which has been floating around on bootlegs and .zip files and YouTube for eons-- will permanently dull the excitement of the Nevermind, but trying to swallow it all might put you off the album itself for a long while. If you're truly interested in hearing this stuff, the two-disc deluxe set is easily the better deal, giving you a little hint of the various stages of Nevermind's construction without wearing you out the way the four-disc set will. But if you really want to celebrate the 20th, you'll be better off just giving the original album a few spins. Despite how much better-left-forgotten material is being offered up here as essential, there's still more life in the real Nevermind than anything that's attempted to replicate its attack since.
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