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The affectless, brittle chime that begins the track (probably coaxed from Cobain’s bridge) is cousin to the guitar-harmonic ostinato that begins Puddle of Mudd’s 2001 #5 Hot 100 evergreen “Blurry.” (Coincidentally, Grohl employed harmonics during the dropout in Foo Fighters’ “All My Life,” which would succeed “You Know You’re Right” at No.
Grohl and Cobain hashed out a tactile crawl (owing more than a little to Alice in Chains’ “Would?”) that could later be spotted in the clammy hands of Godsmack and Disturbed. It’s understandable why he did that: sonically, there are a few minor prophecies here. At one point, Novoselic felt compelled to note that the final mix was practically identical to how the song sounded in ‘94. The Beatles’ entire recording ccareer could fit between Nirvana’s last studio single and “You Know You’re Right,” and yet the trio slammed into the charts like no time had passed. Had it been released as a single at the time-though again, that was not the plan-it might have represented a defense of alternative rock: sarcasm as weapon, rather than workwear.Īs a single in 2002, it felt like the reminder of a debt. Cobain could find bleakness at any volume, but rarely had his band been so despairingly heavy, front to back. (Is he singing she just wants to love himself ? On the chorus, does he shout pain ? Or just hey ?)Ī few takes later, the band had something complete, something bludgeoning and cathartic. As usual, his instinctive approach and trademark yowl created additional ambiguities: there are ghost words here. Aggressive passivity (“I will move away from here/You won’t be afraid of fear”) gives way to uterine imagery (“I’m so warm and calm inside”) and one of Kurt’s trademark sardonicisms (“things have never been so swell”). In typical Cobain style, the lyrics were left to the last minute. Despite the anonymous title, his bandmates were familiar with it: they’d bashed it out at a few soundchecks as well as a Chicago concert the previous fall. When Cobain finally showed, he was ready to work on one song: “Kurt’s Tune #1”. The first couple of days, Cobain was unaccounted for, so Grohl and Krist Novoselic alternated jamming with working out a few of Grohl’s compositions, some of which (“Big Me,” “February Stars”) would become alt-rock staples for his post-Nirvana project Foo Fighters. If the trio got a B-side out of the deal, the sessions would be a success. and Soundgarden’s Superunknown -at Robert Lang Studios, a (literally) underground concern near Dave Grohl’s house. With a European tour just a couple months away, they booked some time with Seattle-based engineer/producer Adam Kasper-between work on Pearl Jam’s Vs. That month, though, the band was less concerned with expanding their territory than just knocking something out on tape. Nirvana was slotted into the “heritage modern rock” quadrant, reserved for “the format pioneers”: an accurate but still astonishing designation for a band with just three albums. It noted that the November prior, the format had reached its largest audience, and the piece detailed four different strains of the style on the airwaves. Nevertheless, “You Know You’re Right” fit snugly into this unsettled milieu, a world partly of Nirvana’s making.īack in January 1994, Billboard published a front-page report on the state of modern rock radio. The alt-rock gold rush Nirvana had inadvertently inaugurated had long since vacated, and any direction, from the glossy pop-punk of Good Charlotte to Chevelle’s bruise-black alternative metal, was possible.
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Rap-rock was at an ebb nu-metal’s provocateurs were easing into balladry the revanchist phenomenon of garage-inflected rock ‘n’ roll - all those “The” bands - had scored a ton of magazine covers but few real stateside hits. Whether or not Nirvana and their peers single-handedly pushed glam metal off its perch, in 2002 there was little evidence of a similar revolution. That it did so well was a testament to Kurt Cobain’s bone-deep sense of songcraft – and the still-sizable fanbase Nirvana had established before Cobain’s April 1994 suicide.Ĭynically or not, its success could also be taken as an indictment of the state of rock radio at the time. The 100 Greatest Songs of 2002: Staff PicksĮight years after it was tracked, Nirvana‘s “You Know You’re Right” ruled Billboard‘s Alternative Airplay chart for four weeks in October and November: their longest-ever reign on that chart.