is the second studio album by
the American rock
, released on September 24, 1991.
Produced by Butch Vig
was the group's first release on DGC
. Frontman Kurt Cobain
to make music outside of the restrictive confines of the Seattle
scene, drawing influence from groups
such as the Pixies
and its use of loud/quiet
Despite low commercial expectations by the band and its record
became a surprise success in late 1991,
largely due to the popularity of its first single, "Smells Like Teen Spirit
". By January
1992, it had replaced Michael
's album Dangerous
at number one on the
Industry Association of America
has certified the album ten
times platinum (10 million copies shipped). Nevermind
responsible for bringing alternative
to a large mainstream audience, and critics subsequently
regarded it as one of the best rock albums of all time.
was a band from Aberdeen, Washington, formed by Kurt Cobain
and Krist Novoselic, that had signed
to Seattle independent record label Sub Pop. The group released its
debut album Bleach in 1989,
with Chad Channing on drums.
However, Channing left Nirvana in 1990, and the band was in need of
a permanent drummer. Upon seeing a show by hardcore punk
, the group's drummer, Dave Grohl
, impressed Novoselic and Cobain. When
Scream unexpectedly disbanded, Grohl contacted Novoselic, made his
way to Seattle, and was soon invited to join the band. Novoselic
said in retrospect that when Grohl joined the band, everything
"fell into place".
Meanwhile Cobain was writing a number of new songs. At the time
Cobain was listening to bands like R.E.M.
, and the Pixies
. Feeling disillusioned by the heavy detuned
rock popular in the Seattle grunge scene which Sub Pop had built
its image upon, Cobain—inspired by his contemporary listening
habits—began writing songs that were more melodic. A key
development was the single "Sliver
released on Sub Pop in 1990 (before Grohl joined the band), 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." Grohl said that
the band at that point often made the analogy of likening their
music to children's music, in that the band tried to make its songs
as simple as possible.
By the start of the 1990s, Sub Pop was experiencing financial
difficulties. With rumors that Sub Pop would sign up as a
subsidiary for a major label, the band decided to "cut out the
middleman" and start to look for a major label. A number of labels
courted the band, but Nirvana ultimately signed with Geffen Records
imprint DGC Records based upon
the recommendation of its management, who also managed the band's
idols (and recent Geffen signings) Sonic
, and Sonic Youth's Kim
Recording and production
In the spring of 1990, Nirvana began planning its second album for
Sub Pop, tentatively titled Sheep
. For the album, Sub Pop
head Bruce Pavitt
suggested Butch Vig
as a potential producer. Nirvana
particularly liked Vig's work with Killdozer
and called Vig up to tell him,
"We want to sound as heavy as that record." In April 1990, the
band traveled out to Vig's Smart
Studios in Madison, Wisconsin to begin work on the album.
Most of the
basic song arrangements were completed by that time, but Cobain was
still working on lyrics and the band was unsure of which songs to
record. Ultimately, eight songs were recorded: "Immodium" (later
renamed "Breed"), "Dive" (later released as the B-side
to "Sliver"), "In
", "Pay to Play" (eventually renamed "Stay Away" and given
a new set of lyrics), "Sappy", "Lithium
", "Here She Comes Now
(released on Velvet Underground Tribute Album: Heaven and Hell
), and "Polly". The band had planned to record more
tracks, but Cobain blew his voice out on "Lithium", forcing them to
shut down recording. Vig was told that the band would come back to
record more songs, but the producer did not hear anything for a
while. Instead, the band used the sessions as a demo tape to shop
for a new label. Within a few months, the tape was circulating
amongst major labels, creating a buzz around the group.
After signing to Geffen, a number of producers for the album were
suggested, including Scott Litt
, David Briggs
, and Don Dixon
, but Nirvana held out for
Vig. Novoselic noted in 2001 that the band was already nervous
about recording on a major label, since the producers suggested
wanted percentage points for the album, and they optioned for Vig,
with whom they felt comfortable collaborating. Afforded a budget of
$65,000, Nirvana recorded Nevermind at Sound City Studios
Angeles, California in May and June 1991.
Nirvana was originally
set to record the album during March and April 1991, but the date
kept getting pushed back in spite of the band's anxiousness to
begin the sessions. To pay gas money to get to Los Angeles, Nirvana
played a show where they played "Smells Like Teen Spirit
" for the
first time. The band sent Vig some rehearsal tapes prior to the
sessions that featured songs recorded previously at Smart Studios,
along with some new ones including "Smells Like Teen Spirit" and
"Come as You
When the group arrived in California, Nirvana did a few days of
pre-production where the band and Vig tightened up some of the song
arrangements. The only recording carried over from the Smart
Studios sessions was the song "Polly", which included cymbal
crashes performed by Chad Channing. Once recording commenced, the
band worked eight to ten hours a day. The band members tended to
take two or three tries at instrumental takes; if the takes weren't
satisfactory at that point, they would move on to something else.
The group had rehearsed the songs so much before recording started
that often only a few takes were needed. Novoselic and Grohl
finished their bass and drum tracks in a matter of days, but Cobain
had to work longer on guitar overdubs, singing, and particularly
lyrics (which sometimes were finished mere minutes before
recording). Cobain's phrasing was so consistent on various takes
that Vig would mix the takes together to create overdubs. Vig says
that he often had to trick Cobain into recording additional takes
for overdubs since the singer was averse to performing multiple
takes. In particular, Vig convinced Cobain to double-track his
vocals on the song "In Bloom" by telling him "John Lennon
did it." While the sessions went
well generally, Vig said Cobain would become moody and difficult at
times: "He'd be great for an hour, and then he'd sit in a corner
and say nothing for an hour."
After the recording sessions were completed, Vig and the band set
out to mix
However, after a few days, both Vig and the band members realized
that they were unhappy with how the mixes were turning out. As a
result, they decided to call in someone else to oversee the mixing,
with Geffen Records imprint DGC
supplying a list of possible options. The list contained several
familiar names, including Scott Litt (known for his work with
R.E.M.) and Ed Stasium
(known for his
work with The Smithereens). However, Cobain feared that bringing in
known mixers would result in the album sounding like the work of
those bands. Instead, Cobain chose Andy Wallace
(who had co-produced
Slayer's 1990 album Seasons in
) from the bottom of the list. Novoselic
recalled, "We said, 'right on,' because those Slayer records were
so heavy." Wallace ran the songs through various special effects
boxes and tweaked the drum sounds, completing about one mix per
day. Both Wallace and Vig noted years later that upon hearing
Wallace's work the band loved the mixes. After the album's release
members of Nirvana expressed dissatisfaction with the polished
sound the mixer had given Nevermind
. Cobain said in
Come as You Are
, "Looking back on the production of
, I'm embarrassed by it now. It's closer to a
record than it is
a punk rock record."
the afternoon of August 2 in The Mastering Lab in Hollywood,
California. Howie Weinberg started working alone when no one else
showed up at the appointed time in the studio; by the time Nirvana,
Andy Wallace, and Gary Gersh arrived, Weinberg had mastered most of
the album. One of the songs mastered at the session, a hidden track
called "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 misconstrued their instructions, so
you can call it my mistake if you want. 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." When the band discovered the song's
omission after listening to its copy of the album, Cobain called
Weinberg and demanded he rectify the mistake. Weinberg complied and
added about ten minutes of silence between the end of "Something in
the Way" and the start of the hidden track on future pressings of
was released on September 24, 1991. American
record stores received an initial shipment of 46,251 copies, while
35,000 copies were shipped in the United Kingdom, where
had been successful. The lead single "Smells Like
Teen Spirit" had been released on September 10 with the intention
of being a base-building cut among alternative rock fans, while the
next single "Come As You Are
be the song that would possibly garner more attention. The band set
out on a short American tour four days before the release date to
support the album. Geffen Records hoped that Nevermind
would sell around 250,000 copies, which was the same level the
record company had achieved with Sonic Youth's Geffen debut
. The best estimate was that
if all involved worked hard, the record could possibly be certified
Gold by September 1992.
The album debuted on the Billboard 200
at position 144, which
was high enough for the album to top the Heatseekers
chart as well. Geffen
shipped about half of the initial US pressing to the American
Northwest, where it sold out quickly and was unavailable for days.
Geffen reputedly put production of all other albums on hold in
order to fulfill demand in the region. Nevermind
already selling well but, over the next few months, the momentum
increased significantly as "Smells Like Teen Spirit" unexpectedly
became more and more popular. The song's video had received a world
premiere on MTV
's late night alternative show
but it soon proved
so popular that the channel began playing it during the day. The
record was soon certified gold, but the band was relatively
uninterested in the achievement. Novoselic recalled, "Yeah I was
happy about it. It was pretty cool. It was kind of neat. But I
don't give a shit about some kind of achievement like that. It's
As the band set out for their European tour at the start of
November 1991, Nevermind
entered the Billboard
Top 40 for the first time at number 35. By this point, "Smells Like
Teen Spirit" had become a genuine hit and the album was selling so
fast none of Geffen's marketing strategies aimed at different sales
levels could be enacted. Geffen president Ed Rosenblatt told
The New York Times
didn't do anything. It was just one of those 'Get out of the way
and duck' records." Nirvana found as they toured Europe during the
end of 1991 that the shows were dangerously oversold, television
crews became a constant presence onstage, and "Smells Like Teen
Spirit" was almost omnipresent on radio and music television.
became Nirvana's first number one album on
January 11, 1992, replacing Michael Jackson at the top of the
charts. By this time, Nevermind
selling approximately 300,000 copies a week. "Come As You Are" was
finally released as the second single in March 1992; it peaked at
number 32 on the Billboard
singles chart. Two more singles, "Lithium" and "In
Bloom", were released from the album.
was certified Gold and Platinum by the Recording Industry
Association of America
in November 1991, and was certified
Diamond in March 1999. It was also certified Diamond in Canada
(1,000,000 units) by the Canadian Recording
in March 2001. In 1996, Mobile Fidelity Sound Lab
part of its ANADISQ 200 series, and as a 24-carat
gold CD. The CD pressings included
"Endless, Nameless". The LP version sold out quickly of its limited
pressing, but the CD edition stayed in print.
Upon the album's release, several mainstream newspapers and
magazines gave Nevermind
positive reviews. Karen Schoemer
of The New York Times
wrote, "With 'Nevermind,' Nirvana
has certainly succeeded. There are enough intriguing textures, mood
shifts, instrumental snippets and inventive word plays to provide
for hours of entertainment." Schoemer concluded, "'Nevermind' is
more sophisticated and carefully produced than anything peer bands
like Dinosaur Jr.
have yet offered." Entertainment Weekly
an A– rating, and reviewer David Browne
argued that on Nevermind
Nirvana "never entertain the notion" of wanting to sound "normal,"
compared to other contemporary alternative bands. Concluding his
very enthusiastic review for the British Melody Maker
, Everett True
wrote that "When Nirvana released
all those years ago, the more sussed among us
figured they had the potential to make an album that would blow
every other contender away. My God have they proved us
gave the album
three out of five stars; reviewer Ira Robbins wrote, "If Nirvana
isn't onto anything altogether new, Nevermind
the songs, character and confident spirit to be much more than a
reformulation of college radio's high-octane hits." The
enthusiastic about the album; reviewer Steve Morse wrote, "Most of
is packed with generic punk-pop that had been
done by countless acts from Iggy Pop
Red Hot Chili Peppers
added "the band has little or nothing to say, settling for moronic
ramblings by singer-lyricist Cobain."
was voted as the best album of the year in
The Village Voice
Pazz & Jop
critics' poll; "Smells
Like Teen Spirit" also topped the single of the year and video of
the year polls. Nevermind
topped the poll by a large
majority, and Village Voice
critic Robert Christgau
wrote in his companion
piece to the poll, "As a modest pop surprise they might have scored
a modest victory, like De La Soul
1990. Instead, their multi-platinum takeover constituted the first
full-scale public validation of the Amerindie values—the noise, the
toons, the 'tude—the radder half of the [Pazz & Jop poll]
electorate came up on."
Cobain, Nirvana's main songwriter, fashioned chord sequences that
were based mainly around power chords and wrote songs that combined
pop hooks with dissonant guitar rhythms. His aim for
's material was to sound like the "[[Bay City
Rollers]] getting molested by [[Black Flag (band)|Black
Flag]]".Lewis, Luke. "Nirvana - Nevermind". ''Q: Nirvana and the
Story of Grunge''. December 2005. Many of the songs on
''Nevermind'' feature shifts in dynamics, where the band changes
from quiet verses to loud choruses. Dave Grohl said this approach
originated during a four-month period prior to the recording of the
album, where 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." On ''Nevermind'', Cobain played a 1960s
[[Fender Mustang]], a [[Fender Jaguar]] with DiMarzio pickups, and
a few [[Fender Stratocaster]]s with [[humbucker]] bridge pickups.
The guitarist used distortion and [[Chorus effect|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. Krist
Novoselic tuned down his bass guitar one and a half steps to D flat
"to get this fat-ass sound". ===Lyrics=== Grohl said that Cobain
told him, "Music comes first, lyrics come second," and Grohl
believes that above all Cobain focused on the melodies of his
songs. Cobain was still working on the album's lyrics well into the
recording of ''Nevermind''. Additionally, Cobain's phrasing on the
album is often difficult to understand. Vig asserted that clarity
of Cobain's singing was not paramount. Vig said, "Even though you
couldn't quite tell what he was singing about, you knew it was
intense as hell." Cobain would later complain when rock journalists
attempted to decipher his singing and extract meaning from his
lyrics, writing "Why in the hell do journalists insist on coming up
with a second-rate [[Sigmund Freud|Freudian]] evaluation of my
lyrics, when 90 percent of the time they've transcribed them
incorrectly?"Cross 2001, pg. 182 [[Charles R. Cross]] asserted in
his 2001 biography of Kurt Cobain, ''[[Heavier Than Heaven]]'',
that many of the songs written for ''Nevermind'' were about
Cobain's dysfunctional relationship with [[Tobi Vail]]. After the
relationship ended, Cobain began writing and painting violent
scenes, many of which revealed hatred for himself and others. Songs
written during this period were less violent, but still reflected
anger absent from Cobain's earlier songs. Cross wrote "In the four
months following their break-up, Kurt would write a half dozen of
his most memorable songs, all of them about Tobi Vail". "Drain You"
begins with the line "One baby to another said 'I'm lucky to have
met you'", quoting what Vail had once told Cobain, and the line "It
is now my duty to completely drain you" refers to the power Vail
had over Kurt in their relationship. According to Novoselic,
"'Lounge Act' is about Tobi", and the song contains the line "I'll
arrest myself, I'll wear a shield", referring to Cobain having the
[[K Records]] logo tattooed on his arm to impress Vail. Though
"Lithium" had been written before Cobain knew Vail, the lyrics of
the song were changed to reference her.Cross 2001, pg. 168–69
Cobain also said in an interview with ''[[Musician
(magazine)|Musician]]'' that "some of my very personal experiences,
like breaking up with girlfriends and having bad relationships,
feeling that death void that the person in the song is feeling–very
lonely, sick."Morris, Chris. "The Year's Hottest Band Can't Stand
Still". ''Musician'', January 1992. ==Packaging== The album's
tentative title ''Sheep'' was something Cobain created as an inside
joke towards the people he expected to buy the record. He wrote a
fake ad for ''Sheep'' in his journal that read "Because you want to
not; because everyone else is."Cross 2001, pg. 154 Novoselic said
the inspiration for the title was the band's cynicism about the
public's reaction to [[Operation Desert Storm]]. As recording
sessions for the album were completed, Cobain grew tired of the
title and suggested to Novoselic that the new album be named
''Nevermind''. Cobain liked the title because it was a metaphor for
his attitude on life, and because it was grammatically
incorrect.Cross 2001, pg. 189 The ''Nevermind'' [[album cover]]
shows a baby swimming toward a US dollar bill on a fishhook.
According to Cobain, he conceived the idea while watching a
television program on [[water birth]]s with Grohl. Cobain mentioned
it to Geffen's art director [[Robert Fisher]]. Fisher found some
stock footage of underwater births but they were too graphic for
the record company. Also, the stock house that controlled the photo
of a swimming baby that they subsequently settled on wanted $7,500
a year for its use, so instead Fisher sent a photographer to a pool
for babies to take pictures. Five shots resulted and the band
settled on the image of a three-month-old infant named [[Spencer
Elden]], the son of the photographer's friend Rick Elden. However,
there was some concern because Elden's [[penis]] was visible in the
image. Geffen prepared an alternate cover without the penis, as
they were afraid that it would offend people, but relented when
Cobain made it clear that the only compromise he would accept was a
sticker covering the penis that would say, "If you're offended by
this, you must be a closet pedophile."Azerrad 1993, pg. 180–81 The
back cover of the album features a photograph of a rubber monkey in
front of a collage created by Cobain. The collage features photos
of raw beef from a supermarket advertisement, images from [[Dante
Alighieri|Dante's]] ''[[Divine Comedy#Inferno|Inferno]]'', and
pictures of diseased vaginas from Cobain's collection of medical
photos. Cobain noted, "If you look real close, there is a picture
of [[Kiss (band)|Kiss]] in the back standing on a slab of
beef."Berkenstadt; Cross, pg. 108 The album's liner notes contain
no complete song lyrics; instead, the liner contains random song
lyrics and unused lyrical fragments that Cobain arranged into a
poem.Azerrad 1993, pg. 209 ==Legacy== ''Nevermind'' not only
popularized the [[Seattle]] [[grunge]] movement, but also brought
[[alternative rock]] as a whole into the mainstream, establishing
its commercial and cultural viability.Olsen, Eric.
"[http://www.msnbc.msn.com/id/4652653/ 10 years later, Cobain lives
on in his music]". MSNBC.com. April 9, 2004. Retrieved on September
27, 2007. ''Nevermind'''s success surprised Nirvana's
contemporaries, who felt dwarfed by its impact. Fugazi
's Guy Picciotto
later commented: "It was like our record could have been a hobo
pissing in the forest for the amount of impact it had. [...] It
felt like we were playing ukuleles all of a sudden because of the
disparity of the impact of what they did". In 1992, Jon Pareles
of The New York Times
described that in the aftermath of the album's breakthrough,
"Suddenly, all bets are off. No one has the inside track on which
of dozens, perhaps hundreds, of ornery, obstreperous, unkempt bands
might next appeal to the mall-walking millions". Record company
executives offered large advances and record deals to bands, and
previous strategies of building audiences for alternative rock
bands had been replaced by the opportunity to achieve mainstream
argued in his
Nirvana biography Come as You Are: The Story
(1993) that Nevermind
emergence of a generation of music fans in their twenties in a
climate dominated by the musical tastes of the baby boomer
generation that preceded them.
Azerrad wrote, "Nevermind
came along at exactly the right
time. This was music by, for, and about a whole new group of young
people who had been overlooked, ignored, or condescended to."
wrote in its entry for Nevermind
its 2003 list of the 500 greatest albums of all time, "No album in
recent history had such an overpowering impact on a generation—a
nation of teens suddenly turned punk—and such a catastrophic effect
on its main creator."
has continued to garner critical praise since
its release. The album was listed at number seventeen on
list "The 500 Greatest Albums of
writer Josh Tyrangiel
finest album of the 90s," on its 2006 list of "The All-TIME 100
named the album the
sixth best of the decade, noting that "anyone who hates this record
today is just trying to be cool, and needs to be trying harder."
the Library of
Congress added Nevermind to the National Recording Registry,
which collects "culturally, historically or aesthetically
important" sound recordings from the 20th century.
All songs were written by Kurt Cobain
except where noted.
- "Smells Like Teen
Spirit" (Cobain, Krist
Novoselic, Dave Grohl) –
- "In Bloom" – 4:14
- "Come as You
Are" – 3:39
- "Breed" – 3:03
- "Lithium" –
- "Polly" – 2:57
- "Territorial Pissings" – 2:22
- "Drain You" – 3:43
- "Lounge Act" – 2:36
- "Stay Away" – 3:32
- "On a Plain" – 3:16
- "Something in the Way" – 3:55
- "Endless, Nameless" (6:44) is a hidden track on some copies of
- Additional musicians
- Technical staff and artwork
- Classic Albums—Nirvana: Nevermind [DVD]. Isis
- Azerrad, Michael. Come as You Are: The Story of
Nirvana. Doubleday, 1993. ISBN 0-385-47199-8
- Berkenstadt, Jim; Cross, Charles. Classic Rock Albums:
Nevermind. Schirmer, 1998. ISBN 0-02-864775-0
- Cross, Charles. Heavier Than Heaven: A Biography of Kurt
Cobain. Hyperion, 2001. ISBN 0-7868-8402-9
- Sandford, Christopher. Kurt Cobain. Carroll &
Graff, 1995. ISBN 0-7867-1369-0
- Classic Albums—Nirvana: Nevermind [DVD]. Isis
- Azerrad, 1993. pg. 145
- Azerrad, 1993. pg. 162
- Hoi, Tobias. "In Bloom." Guitar World. October
- Berkenstadt; Cross, pg. 29
- Azerrad, 1993. pg. 137
- Azerrad, 1993. pg. 138
- Azerrad, 1993. pg. 164–65
- Cross, Charles R. "Requiem for a Dream". Guitar World.
- Sandford 1995, pg. 181
- Azerrad 1993, pg. 167
- Azerrad 1993, pg. 169
- Azerrad 1993, pg. 174
- Azerrad 1993, pg. 176
- di Perna, Alan. "Grunge Music: The Making of Nevermind".
Guitar World. Fall 1996.
- Berkenstadt; Cross, pg. 96
- Azerrad 1993, pg. 179–80
- Berkenstadt; Cross, pg. 99
- Berkenstadt; Cross, pg. 102
- Berkenstadt; Cross, pg. 103
- Berkenstadt; Cross, pg. 104
- Azerrad 1993, pg. 196
- Berkenstadt; Cross, pg. 113
- Azerrad 1993, pg. 227
- Wice, Nathaniel. "How Nirvana Made It". Spin. April
- Azerrad 1993, pg. 193
- The Billboard 200. Billboard. October 19,
- Heatseekers. Billboard. October 19, 1991.
- Berkenstadt; Cross, pg. 119
- Azerrad 1993, pg. 199
- Azerrad 1993, pg. 202
- Azerrad 1993, pg. 228
- Azerrad 1993, pg. 203
- Azerrad 1993, pg. 229
- Nirvana Album & Song Chart History.
Billboard.com. Retrieved on August 26, 2009.
- RIAA Searchable Database. RIAA.com. Retrieved on March
10, 2007. NB user needs to enter "Nirvana" in "Artist" and click
- Gold & Platinum - March 2001. CRIA.ca. March 2001.
Retrieved on September 27, 2007.
- Berkenstadt; Cross, pg. 148–49
- Schoemer, Karen. " Pop/Jazz; A Band That Deals In Apathy". The
New York Times. September 27, 1991. Retrieved on September 27,
- True, Everett. Nirvana: The Biography. Da Capo Press,
2007. ISBN 978-0-306-81554-6. Pg. 233.
- Berkenstadt; Cross, pg. 117
- Christgau, Robert. " The 1991 Pazz & Jop Critics Poll".
RobertChristgau.com. March 3, 1992. Retrieved on May 19, 2007.
- Christgau, Robert. " Reality Used to Be a Friend of Ours".
RobertChristgau.com. March 3, 1992. Retrieved on September 29,
- Azerrad, 2001. p. 493
- Pareles, Jon. " Pop View; Nirvana-bes Awaiting Fame's Call".
The New York Times. June 14, 1992. Retrieved on June 3,
- Azerrad 1993, pg. 225
- 17) Nevermind. Rolling Stone.
November 1, 2003. Retrieved on June 3, 2008.
- Tyrangiel, Josh. " Nevermind by Nirvana". Time.
November 13, 2006. Retrieved on September 29, 2007.
- " Top 100 Albums of the 1990s".
Pitchfork.com. Retrieved on November 25, 2009.
- MTV News staff. " For The Record: Quick News On Gwen Stefani,
Pharrell Williams, Ciara, 'Dimebag' Darrell, Nirvana, Shins &
More". MTV.com. April 6, 2005. Retrieved on July 16, 2009.
- " Nirvana - Nevermind (Album)".
Australian-charts.com. Retrieved on August 10, 2009.
- " Nirvana - Nevermind (Album)" (in German).
Austriancharts.at. HunRetrieved on August 10, 2009.
- " RPM100 Albums". RPM. March 7, 1992.
Archived by Library and Archives Canada. Retrieved on August 10,
- " Chartverfolgung: Nirvana: Nevermind".
Musicline.de. Retrieved on August 10, 2009.
- " Top 40 album- és válogatáslemez- lista" (in
Hungarian). Mahasz.hu. Retrieved on August 10, 2009.
- " Nirvana - Nevermind (Album)". Charts.org.nz.
Retrieved on August 10, 2009.
- " Nirvana - Nevermind (Album)".
Norwegiancharts.com. Retrieved on August 10, 2009.
- " Veckolista Album - Vecka 6, 1992" (in Swedish).
Sverigetopplistan.se. Retrieved on August 10, 2009.
- " Nirvana - Nevermind (Album)". Swisscharts.com.
Retrieved on August 10, 2009.
- Roberts, David (editor). British Hit Singles &
Albums. Nineteenth edition. HiT Entertainment, 2006. ISBN
1-90499-410-5. Pg. 396.
- " Nevermind (1991): Album Info". Billboard.com.
Retrieved on August 10, 2009.