Nirvana ‘In Utero’ 30th Anniversary Edition: My First-Listen Review
My hands-on analysis of the ’In Utero’ remastered and unreleased recordings
Nirvana recorded In Utero in February 1993 at Pachyderm Studio in Cannon Falls. It would be the band’s third and final studio album.
If it’s 1991 predecessor, Nevermind, unleashed a pop-cultural shift, In Utero was the first album that Nirvana created under massive public expectation.
I will never forget how the albums’ sonic rawness marked my coming-of-age years. Steve Albini’s recording exposed every primal nuance of Nirvana’s musical core down to the marrow.
I had turned fifteen when Nirvana released In Utero. Back then, I was living the most troubled years of my life, and Kurt’s lyrics resonated in an all-new way.
Thirty years passed in a flash, and now, at 45, I feel a tingle of excitement as I get ready to press play on my digital copy of In Utero: 30th Anniversary Edition.
I take my time looking at the artwork. Cobain’s winged plastic model of the human anatomy is back, but this time we have it set on a grayish background.
All twelve original songs from In Utero, plus five bonus tracks and B-sides, have been remastered from the original analog master tapes by Bob Weston of Chicago Mastering Services, who worked with Albini as the only other sound engineer on the original sessions.
‘In Utero’ Remastered 30th Anniversary Edition
As I press play on the remastered album, it feels like I’m going back in time to ever-familiar soundscapes.
Thirty autumns have passed. Many gold and crimson leaves have fallen to the ground. My long, dark hair is but a memory of the springtime of life, and my bald head reminds me of a snowy winter wasteland as I gaze into the mirror every morning while I shave.
These days, I don’t listen to Nirvana as often, but I still know all the songs by heart.
Looking at the tracklist, we have all twelve original songs plus five bonus tracks that have all been remastered.
This has to be played loud!
However, it’s Friday morning here in Portugal, and I don’t want to wake the neighbors.
So I put on my headphones and press play.
Instantly, I am drawn to the fuzzy melodies of the opening track, “Serve the Servants.”
The remastering has cleaned up a bit of the raw, gritty sound of the original recording. Kurt’s voice is crisp and clear, and I can better wrap my head around the instruments’ melodic lines.
So far, so good! Let’s bring on the “big guns.”
“Scentless Apprentice” takes the guitar work up a notch. Kurt’s frantic vocals are the tonic to the chord dissonance and distortion. The remaster has put a lot more oomph on the guitar, and I love it.
When we go back to slower tempos and less gritty tracks like “Heart-Shaped Box,” “Rape Me,” or "Dumb,” the remastering becomes less noticeable, but the quality of the recording is indisputable.
But then, if you blast the PA with “Very Ape" or “Milk It” you get a better feel for Bob Weston’s work. Trust me, you can go loud and not lose any of the sound quality.
“Pennyroyal Tea” sounds like a good Port Wine vintage; it only gets better and better. It’s one of those songs where Kurt’s vocals are just breathtaking, and the way we can hear every exhale blows my mind.
“Radio Friendly Unit Shifter“ (working title: “Nine Month Media Blackout”) isn’t a crowd favorite, but I have to say this is one of the original songs that has greatly profited from the revamping alongside “Tourette’s.”
The songs overlap in such a way that, in no time, I am at song twelve and enjoying the bittersweet chords of “All Apologies”.
From this moment on, things get even more enticing. It’s time for the bonus tracks.
My original In Utero copy was the European version, which had, in fact, thirteen songs. However, back then, I had to fast-forward the CD because “Gallons Of Rubbing Alcohol Flow Through The Strip” was playing on the same track as “All Apologies”, but after twenty minutes of silence.
“Marigold” was a B-side to the “Heart-Shaped Box” single. I have all the Nirva Singles box set released in Europe in December 1995. So this is another familiar track. Being composed by Nirvana’s drummer, Dave Grohl, I see in this song an unmistakable parallel with the music he would later deliver with Foo Fighters.
“Sappy” was written by Kurt Cobain and has more of Nirvana’s distinctive vibe if we compare it to “Marigold.” The song was originally released as a hidden track on the AIDS-benefit compilation No Alternative, one month after the release of In Utero.
“Moist Vagina” is another relic from my Singles box set, as it was a B-side to “All Apologies,” but I have to say it sounds a lot better in this edition.
I remember listening to “I Hate Myself and Want to Die” when it was released in November 1993 on The Beavis and Butt-Head Experience compilation. For me, it’s the most distressing track from Nirvana’s discography, and to this day, it still aches to listen to Kurt’s words as they seem to foretell the tragedy that was about to unfold.
Live In Los Angeles, Great Western Forum — Dec. 30, 1993
I never got the chance to watch Nirvana live; I was only sixteen when they played their first and only concert in Portugal on February 6, 1994, at the Pavilhão do Dramático in Cascais.
The Portuguese date marked the debut of the In Utero European tour. Back then, Kurt Cobain, Krist Novoselic, and Dave Grohl were joined on stage by guitarist Pat Smear and cellist Lori Goldston.
The concert sold out quickly, and 4,500 people got to witness a historic event. Two months later, on April 5, 1994, Kurt died, and with him died any hope of watching Nirvana play live.
So I have to content myself with live recordings and YouTube videos, knowing that the best way to enjoy Nirvana’s music is to listen to the band play in front of an audience.
That’s probably why the deluxe version offers so many tracks taken from live sets.
Disc two opens with Nirvana performing at the Great Western Forum in Los Angeles on December 30, 1993, as part of their In Utero tour.
That night, Nirvana played at its peak, and from what I’ve seen, they delivered a mind-blowing show.
Even Kurt, whose mood swings on and off stage were renowned, was in a rare, lively mood, and his voice was on fire, and he seemed more at ease.
It sounded like the voice from Bleach was back in town.
I’ve watched rare fan-made footage of the concert on YouTube, but nothing, not even near the sound quality we now can enjoy.
The only thing missing is the roar of the crowd because we’re listening to the actual soundboard audio.
The tracklist follows the original concert setlist. Nirvana opened with “Radio Friendly Unit Shifter,” and, of course, I like the live version better than the studio recording.
Having Pat on the second guitar helps round out how Nirvana sounds live.
As the song ends, Kurt throws himself on the floor and goes on playing with loads of distortion.
Pat Smear frantically dances with his guitar sticking out as if he were under some kind of demonic possession.
Kurt gets up, and we hear him say:
Good morning!
The time was around 10 p.m.
There we go again, at the sound of the first chords of “Drain You." Kurt is feeling chatty, and before Nirvana puts the pedal to the metal once again with "Breed,” we get to hear Kurt teasing the crowd.
I find myself humming “Serve the Servants” up to yet one more of Kurt Cobain’s guitar solos.
Then it’s time for “Comes as You Are.” This is probably one of my favorite Nirvana songs, so I let my mind drift into a state of karmic deluge.
The initial chords of “Smells Like Teen Spirit” pull me out of the state of trance I was in by now. And I feel like headbanging through the song.
Every time I listen to this song, I miss my long hair.
I know Kurt wasn’t passionate about it, but this is my teen nostalgia song.
Kurt sings like he’s back in the studio two years ago, and it sounds fricking awesome. It feels like he is enjoying playing it for once.
Being a bass player, I love the way Krist Novoselic rocks it here.
That bass line is so iconic.
Talking about iconic bass lines, “Sliver” is up next. Kurt goes down an octave for this one, and they absolutely nail this punk rock anthem and take it home in under two minutes.
Thank you!
This is our cellist, Lori Goldston.
I get it, Kurt; it’s time to go acoustic and walk into the misty brumes of “Dumb.” Your voice is crystal clear, my friend; those vocals are just ethereal.
Next up is the night's highlight. I am a hardcore Nirvana fan, and I’ve got to say I never heard Nirvana play “In Bloom” to stardom perfection as they did here.
The shredding guitar solo is so darn good, and it’s not even the same notes we hear in the original version.
I keep listening to some of my all-time favorites in quick succession. Another great solo on “About a Girl.”
Hey, kids let's learn a new dance, everyone jump up and down from now on like this. It’s a lot safer and a lot of fun.
That’s the motto for “Lithium.”
Sorry, Kurt. I know you meant well, but the kids kept on moshing and crowd-surfing around even if you kept trying to show them how to gently jump up and down.
“Pennyroyal Tea” is another banger and yet another highlight from the evening, and we get to listen to Pat Smear sing back vocals throughout the song.
Kurt is rather talkative during the show. He greets the audience by saying “Hello” to people standing on each side of the concert room and up on the nosebleed seats.
At the end of “School,” it’s when things could have taken a nose dive. The band takes a seat and cools off for a minute.
Shoes start flying on stage.
Kurt warns in his best school headmaster’s tone.
No shoe-throwing now!
Only seconds later, you hear someone saying:
Kurt is in a good mood tonight.
Then there’s a loud bang.
Kurt just took a size nine on his shiny guitar.
Chad Kroeger would have probably dropped the mike, thrown a tantrum (giving everyone the finger), and left the stage as he did here in Portugal at Ermal because of a water bottle.
Kurt keeps it cool. It’s in the small gestures that you know he was a true rock star.
His professor’s tone scolds the kids.
Alright now!
The show goes on with “Polly.” Lori’s cello gains a lot more oomph in this remaster. I just love the way Krist's bass lines seem to waltz around the cello’s notes.
Nirvana then sheds its acoustic skin to take “Frances Farmer Will Have Her Revenge on Seattle” head-on.
Everybody is enjoying the ride. Kurt is also having fun, and he says:
Thank you!
“Rape Me” hits me like an electric blast from the past on my eardrums, and I am loving it.
The room is on fire during another great punk rock moment with “Territorial Pissings.” By now, I am pretty sure no one wants this night to end.
Time to cool things down a bit with “Jesus Doesn’t Want Me for a Sunbeam,” which has the power to leave my eyes wet every time I listen to it. It’s such an ethereal eulogy, and it feels even more heartfelt when played live.
That’s probably why Kurt dedicates the song to River Phoenix, who had died in West Hollywood on Halloween night only two months before this show. Then it’s about time for a “David Buoy” song, says Kurt. “The Man Who Sold the World.”
The concert is drawing to an end, and punk rock is giving way to more pop-rock moments with “All Apologies,” “On a Plain,” and Heart-Shaped Box.
The first time I got to listen to this live version of Heart-Shaped Box was on the From the Muddy Banks of Wishkah release, and it now sounds even better with my headphones on. This time, we can actually hear Pat's back vocals.
Goodnight
Wait a minute. There’s still time for one last punk rock jam. Bleach is back one last time with “Blew.”
Back in the day, Nirvana would always end each gig with a noise jam. That’s actually where “Endless Nameless,” the secret track on Nevermind, comes from.
That explains why the band ends the show with “Feedback Jam.” When Kurt throws his guitar at the winged angel, it doesn’t do it out of frustration; this is actually how true rock stars do it.
In fact, there’s a bit of a story here.
During the Nevermind recordings, the band was having trouble getting Lithium right, and at some point, Kurt needed to blow out some steam, and he asked his bandmates to play the “Feedback Jam” they used to play at the end of each gig. Afterward, Kurt sends everybody home by smashing his guitar during the jam.
Live In Seattle, Seattle Center Arena (and more live songs)
After playing in the Great Western Forum, Nirvana were still on the road for their West Coast tour as they made their way back home to play at the Seattle Center Arena on January 7–8, 1994.
These were Nirvana’s last shows on U.S. soil before flying to France for their Studio 3/Canal+ performance and then straight to Lisbon for their European Tour tour debut here in Portugal.
The Seattle concert was slightly longer than the one in LA, as the band played a couple more songs from In Utero, “Milk It,” and “Scentless Apprentice.”
Whenever Nirvana played Seattle, there was this unique vibe in the room. They were playing home field, and you immediately noticed something special was about to happen.
Kurt explains it way better than I ever could when he says, before nailing, “Smells Like Teen Spirit.”
This song made Seattle the most liveable city in America.
So here I am going for a no-spoilers approach. I’ll skip the Seattle setlist track-by-track review and let you come back with your thoughts. If you can’t get your hands on the remastered Anniversary Edition, you can always check it out here, and then come back and leave a comment below.
I’d love to know which of the two concerts found in this edition you enjoyed the most. I plan to do a full review of this concert, and your feedback would be deeply appreciated.
Bonus live songs from the ‘In Utero’ tour
This edition also included six more songs taken from the In Utero tour. Of course, being Portuguese, I would love to have at least one song from the Cascais show.
Well, no luck this time, as the four songs taken from the European tour come from the Rome concert on February 22, 1994.
Nirvana is playing Palaghiaccio Di Marino. Including “Serve the Servants, and “Scentless Apprentice.”
I feel Kurt is no longer in his best shape.
Technically, he nails the act, but it almost feels like his flame is slowly fading away.
Kurt leaves the stage after “Heart Shaped Box and doesn’t come back for the final jam.
So, regarding the bonus tracks, it’s the inclusion of “Very Ape” that deserves the highlight, as this is certainly one of the songs where you can feel Nirvana’s distinctive ethos as we get those interspersed melodic verses and raw chorus.
Afterward, the remaster takes us back down memory lane to Springfield’s Civic Center on November 10, 1993, for one of the best “Milk It” live versions ever. The same goes for the epilogue with “Tourette's” at the Roseland Ballroom on July 23, 1993.
Listening to these last songs, I can’t help but feel it was like they wanted to show us Nirvana’s at its prime and, at the same time, the band’s more organic and visceral side of their music down to the marrow, as portrayed by the winged angel Kurt loved to stick his guitars into.
Closing thoughts
In Utero was truly the sound of the era’s most incredible yet conflicted musical force at the height of their powers, coming to terms as the generational spokesperson they never imagined themselves to be—and ultimately overcoming those struggles to make the record they needed to make.