HIM

Saying Goodbye to HIM

HIM announced they’re done. No more albums or new music. I guess it’s a breakup but I hate thinking about it that way. “Breakup” is such a negative term. There’s no bad blood here. Rather, they felt it’s time to move on. Part of me is sad, but I’m also happy for the band. Music is overwrought with bands who probably should’ve called it quits a long time ago *cough* Queen *cough.* In our minds we never want our favorite musicians to stop making music, but there’s a point where it gets sad. New material doesn’t hit you the same way or they keep writing the same songs. Suddenly, their tour stops are a greatest hits package. It reeks of desperation. HIM could’ve kept going for another 10 years if they wanted. Instead, they’re going out on their own terms. And I respect that.

When I heard the news, I was nowhere near tears like I was when The White Stripes broke up. But it still hit me hard. HIM has been with me for a long time. They don’t mean as much to me as The Cure or Green Day, but I still love them. They’ve brought me so much happiness with their music. They’re a band I would often forget how much I liked. I wouldn’t listen to them for months and when I finally did, I’d go on a binge trying to soak up every melancholy thought and note.

What I loved about their music is how they made melancholy and darkness seem okay. Frontman Ville Valo even made it sexy with his sultry vocals. Many of their songs talk about love and death, but it never made you sad or depressed. Instead, it was comforting. They showed that it’s okay to embrace these feelings sometimes.

I also liked their songs for their poetic nature. Sure, some of them are a bit over dramatic, but a good number of them are thought provoking and beautiful. Songs like “The Sacrament,” “Funeral of Hearts,” “For You,” and “When Love and Death Embrace” are downright gorgeous. They still impress me to this day. Songs like these helped me push myself as a writer. Their lyrics often influenced my writing, which I started getting serious about when I discovered them.

Like most fans, I was initially attracted to the band for Valo. No doubt about it, the man is sexy. Something about him is mysterious, which made him more attractive. He’s like the stereotypical new guy in town that’s brooding and spends a lot of time in coffee shops. Over time, I came to appreciate him as a singer. He’s got an impressive range; he sounds sweet and beautiful with the high notes and downright diabolic with his flourishing baritone. I’ve always liked his singing, but I really fell in love with it when I saw HIM live. They’re not the most energetic performers; they don’t dance around or anything like that. Yet, there’s such a fire and passion behind their live shows. They play as if it might be the last concert they’ll ever do. And Valo often has no trouble pulling off his vocal acrobatics in front of a crowd. Most importantly, their shows are fun. Hopefully, I can jam with them one more time before they leave.

The end of HIM is saying goodbye to an old friend. There are times we didn’t speak for a long while, but when we reconnected we picked up where we left off. They’re familiar and comforting, always there when I needed them. I’ll miss them, but at least I can visit them again with all the wonderful music they’ve given us in the span of 26 years. And I’ll never forget how I actually got to speak with Valo for an interview. He was every bit as charming and sweet. It was an honor to speak with someone I’d been following so long. I never thought I’d get the chance to speak with an artist I like so much. So, thank you, HIM, for letting me explore darkness with you and all the memories and fangirl crushes you gave me. I’m happy my friend convinced me to give you a listen 13 years ago.

XX

Venus Doom – HIM

 

Release Year: 2007

Rating: 6/10

Everyone has that one album they tried to like – this is that album for me. I gave this record so many chances thinking it might have been me; maybe I was too quick to dismiss it. Maybe it’s one of those albums that gets better with age. I could be completely wrong about the LP, like I was about Scream, Aim, Fire. But after revisiting it once again, my feelings have not change. I still think this is the band’s worst album despite their good intentions.

The album seems to start off on a good note with opening tracks “Venus Doom” and “Love in Cold Blood.” Hearing the heavy crunchy guitars, energetic beat, and familiar themes of love and death, I thought maybe I was wrong about the LP. But then the big issue kicked in with both tracks: changing gears midway through. On “Venus Doom” after the standard guitar solo, the music slows down to a light lullaby while Ville Valo puts on his deep throat vocals to sound menacing. The whole thing just doesn’t work and feels corny. On the latter track, right when it should end the band picks up the pace and rock out, which doesn’t add anything to the song aside from making it longer. Unfortunately, this issue pops up constantly throughout the album.

So many of the songs like “Passion’s Killing Floor” and even the strong “The Kiss of Dawn” suffer from musical changes. For some reason, the band decides to shift gears and switch up their playing. The problem is it rarely does this smoothly. It often comes off as abrupt making the song as a whole disjointed. “The Kiss of Dawn” is actually one of the better songs from the album, but unless you’re listening to the radio edit, a light muted melody is tacked on at the end. It doesn’t fit in with the song and just makes it longer than it needs to be. It’s such a disappointment because you’ll be rocking out to the song and suddenly it’s like another track is playing when it’s still the same one. It ruins the flow of the music and makes the song dull.

Then there’s “Sleepwalking Past Hope,” which is ten unbearable minutes of slow, soft music, lilting vocals, and lots of melancholy. Like so many of the other tracks, it starts off well with a somber, haunting piano riff that lures you in. But before you can get into the song distorted guitars replace this music making you wonder why it even started with the somber riff at all? It continues with the heavy guitars for about five minutes before it switches tempo and slows down again. After that, a wild solo pops up out of nowhere trying to wake you up and make you remember you’re listening to the song. The entire thing is so entirely drawn out. Did it need to be ten minutes? No fucking way. There is no justifiable reason why the song needed to be so long. All it does it does is bore you before the thing ends. Some bands know how to make lengthy songs that are exciting; HIM is not one of those bands. This album also has their shortest song “Song or Suicide,” which is so short it just feels pointless.

There are a few times when the band gets it right, like on the catchy “Bleed Well.” This is standard HIM all the way: heavy guitars, light melody, and images of love and death. It’s just so satisfying to hear, especially after all the other poor tracks. There’s a memorable guitar riff that opens the song, followed by Valo coyly singing “You had demons to kill,” which will melt you if you used to (or still) crush on him. Another good track is “Dead Lover’s Lane,” which sounds like a leftover from their previous effort Dark Light. It’s another one that sounds like classic HIM and even has a shift in sound during the bridge, but this time, it’s actually good. It flows really well instead of sounding like two different songs.

I really tried to like this album, but no matter how many times I listen to it my feelings are the same. Even if the band didn’t suddenly change tempo in the middle of the songs, it would still be a weak album. Most of the songs are okay at best, otherwise, they’re a little too familiar. And anyone who’s been following the band before this will most likely miss the keyboards, which they swapped out for more guitars. Sure, maybe it is their heaviest album in terms of some of the music, but it doesn’t keep listeners from losing interest. It also has some of their cheesiest lyrics that sounds like they’re taken from a bad goth poem. It’s time to face the truth; I just don’t like this album.

Playlist: Rock Duets

Sometimes a duet is the best thing in the world. Other times, it’s a disaster. But it always leaves memorable stories. There’s something about two huge musicians getting together to create music that’s thrilling and exciting. Pop music is full of countless duets, but they don’t seem as popular for rock music. They certainly exist; they’re just not as abundant as they are in pop music. So let’s look at some of the most notable and popular duets in rock music. For the purpose of this playlist, a duet is a song where both artists have an equal amount of time on the track.

“Close My Eyes Forever” – Lita Ford and Ozzy Osbourne

This is probably the most famous rock duet. The song, which apparently came about as an accident according to Sharon Osbourne, was the third single for Lita Ford’s self-titled debut album. With sappy lyrics and a blazing guitar solo, it’s no different from the many power ballads of the era. Ozzy’s haunting vocals do add an eerie touch to the song, but it’s still pretty cheesy. Though I love Osbourne, I never liked this song. It’s too slow for my tastes and is just corny. Then again, I’d be hard press to find one power ballad from the 80s I actually like. Still, this single stands out as one of the most notable duets in rock music.

“Love Interruption” – Jack White and Ruby Amanfu

The music world went a little nuts when Jack White announced a solo album only a year after the White Stripes ended. The debut single “Love Interruption” wasn’t what people expected. There were no roaring riffs and White screaming over screeching guitars. Instead, the song is mellow, subdued, and a bit cynical. Though White could’ve easily carried the song himself, the addition of Amanfu’s smoky vocals adds an understated sensuality to the song. Something about her voice adds a raspy, soulful nature that would’ve been missing otherwise. I actually think it’s one of the strongest tracks from Blunderbuss and serves as a reminder love isn’t always pretty.

“Dancing in the Street” – Mick Jagger and David Bowie

Two of music’s iconic artists, what could go wrong? To be fair, the cover itself isn’t that bad. There’s nothing particularly special about it, but it’s fun at least. Yet, the music video will go down in infamy. It’s unbelievably bad. Jagger exaggerates everything from his facial expressions to his seizure inducing dance moves. Bowie remains cool though it looked like he left the house in some wild pajamas. And don’t forget the scene where Jagger chugs down a soda while Bowie sings. It’s probably one of the worst videos of the 80s. Hell, even Family Guy said it was the gayest music video in history. Thinking about it, there are moments where the two singers get a little too close for comfort.

“State of Shock” – Michael Jackson and Mick Jagger

Mick Jagger shows up again for a better collaboration with Michael Jackson. Recorded for The Jackson’s album Victory, the song is a raucous and kind of spastic team up with the rocker. The song was originally meant to be a duet with Freddie Mercury for the Thriller album, but scheduling conflicts kept the two from working together. Jagger was called instead and it ended up being his biggest hit away from The Rolling Stones. It’s one of those unexpected hits from Jackson’s catalog, but it’s one of the finest examples of pop and rock colliding. Later on, Jackson said he Jagger sang off key, while Jagger called Jackson “lightweight.” Anyone else think the Freddie Mercury version would’ve been epic?

“Good Times” – INXS and Jimmy Barnes

When two talented vocalists come together, they often try to outshine each other. That’s not the case here. For their contribution to The Lost Boys soundtrack, INXS teamed up with singer/songwriter Jimmy Barnes on this cover of The Easybeats song. Michael Hutchences’ smoldering vocals pair exceptionally well with Barnes’ bluesy, rock-tinged voice. They actually work together to give listeners a thrilling experience. The two sharing vocal duties along with the high energy music supporting them, it’s everything you want a good rock rolling song to be. It has a similar good time vibe as Bob Seger’s “Old Time Rock and Roll.” Listening to Barnes’ vocals, you have to admit it’s reminiscent of rockers, like Robert Plant.

“Hunger Strike” – Temple of the Dog

Temple of the Dog started as a way for Chris Cornell and members of Pearl Jam to deal with the death of Mother Love Bone frontman Andrew Wood. Their debut album did exceptionally well with this song being their biggest hit single. The track features Chris Cornell and Eddie Vedder on vocal duties. When two of grunge’s most notable and talented vocalists get together for a song, you know it’s going to be good. And that’s exactly what you get with this powerful, emotionally driven tune. Both artists get time to share their unique vocal styles, Vedder being gruff and raspy and Cornell’s higher range. It results in a song that’s beautiful and haunting.

“Stand by Your Man” – Wendy O. Williams and Lemmy Kilmister

Ever wonder what it would sound like if two punks ripped apart the Tammy Wynette classic “Stand By your Man?” That’s what Wendy O. Williams and Lemmy Kilmister for a single in 1982. The song is almost unrecognizable with gritty, blazing guitars making a ruckus while the two scream out the lyrics over the noise. Oddly enough, it works. It’s one of those weird covers you would never expect two rock legends to even consider. They breathe new sinister life into the country classic that makes you want to head bang. O. Williams and Kilmister teamed up again for “Jailbait,” which appeared on the Plasmatics album Kommander of Kaos. Listening to these two, it’s clear they were truly one of a kind.

“I Ain’t No Nice Guy” – Motorhead and Ozzy Osbourne

When two of hard rock’s most iconic and legendary figures team up, you expect something epic beyond belief. That’s not the result of this duet featuring Lemmy Kilmister and the Prince of Darkness. Rather than getting together for a kickass track that would melt your face off, the two sing a ballad instead. It’s a slow, somber song made for radio airplay. It actually became a huge hit for Motorhead’s tenth album March or Die. It’s a decent song and features a slow burning solo from guitar hero Slash, but it won’t hit that sweet spot for most metalheads. It’s just so unexpected for the rockers. What’s even more surprising is seeing Ozzy with a five o’clock shadow in the video. Yikes.

“A Tout Le Monde” – Megadeth and Christina Scabbia

This song originally appeared on Megadeth’s sixth album Youthanasia and quickly became a staple for the band. At the time of its release, it garnered controversy for its music video. MTV banned it claiming it promoted suicide, which Dave Mustaine was quick to dismiss. The band re-recorded the song in 2007 for the album United Abominations with Christina Scabbia of Lacuna Coil. Aside from some slight alterations, like a faster pace, there;s not much difference aside from Scabbia singing an entire verse showing off her vocal chops. The song keeps its sentimentality intact along with its hard hitting sound and slightly aggressive mood. Many may prefer the original, but this re-recording is a great blend of old school and new school.

“Walk This Way” – Run DMC and Aerosmith

These days the world of rock and rap often combine for both awesome and questionable results. But back in the 80s, the two were seen as exclusive genres that should never cross paths. Run DMC and Aerosmith broke that barrier with this duet. When it was released in 1986 it blew everyone’s collective minds. Not only did Run DMC cover this classic rock track, they even got Steven Tyler and Joe Perry to join them. The song is still amazing to this day and remains one of the best mash-ups ever. It, of course, would go on to inspire other rock/rap collabs, such as Jay-z and Linkin Park (remember when that was a thing?)

“The One You Love to Hate” – Rob Halford and Bruce Dickinson

Two heavy metal giants, both who are considered the best vocalists in the genre, team up for this roaring track. Recorded for Halford’s debut album Ressurection, the song features Iron Maiden’s Bruce Dickinson on vocals. You’d expect to be beyond amazing and the most bad ass thing you’ve ever heard. In reality, it’s okay. It feels more like a Dickinson track since his voice overpowers everything and Halford is stuck on back up duty. It’s a pretty standard metal song with soaring vocals, blazing guitars and a lot of aggression. It’s not bad; just not very remarkable.

“Don’t Fear the Reaper” – HIM and Sanna-June Hyde

On HIM’s debut album, the band provided a haunting rendition of the Blue Oyster Cult classic. This version brings out all the darkness and grim view that’s implied in the lyrics. And frontman Ville Valo’s baritone vocals provide are a perfect match. Adding some brightness to the track is Finnish actor Sanna-June Hyde. She provided guest vocals for this track and “For You” early in her career. She’s not necessarily the best singer but her voice surprisingly well with Valo’s. There’s also something eerie about their voices. Still one of the best covers of this song.

“Under Pressure” – Queen and David Bowie

The thought of Queen and David Bowie doing a song together sounds like a dream. This amazing collaboration resulted in one of the best songs of the 80s. It’s an undeniable classic; pairing Bowie’s mellow vocals with Freddie Mercury’s dramatic bravado leads to a beautiful sonic experience. And try not to get chills during the bridge when Mercury pleads “Why can’t we give love/give love/give love?” The song became a huge hit for both artists and remains their most notable. Of course, the riff would be stolen by Vanilla Ice in the 90s, who claimed it wasn’t the same song.

Which is your favorite rock duet? Which ones did I miss? Let me know in the comments!

HIM: And Love Said No vs XX – Two Decades of Love Metal

Release Year: 2004

Rating: 8/10

When HIM announced their return to music in 2012, they celebrated 20 years together by releasing an all new greatest hits compilation. The thing is they also released one back in 2004. Is one better than the other? Well, it really depends on what you’re looking for. And Love Said No: 1997-2004 has all their singles up until that point and even includes the new track “And Love Said No.” The latter release is more complete containing “all” of their singles from 1997-2010, meaning fans can find the best songs from later albums like Dark Light and Venus Doom. This one also features a new song, the lackluster and pretty dull “Strange World.”

Release Year: 2012

Rating: 8/10

Yes, the latter release is supposed to be more complete and in some ways it is, but it’s missing three songs previously found on the 2004 LP: the title track, “Close to the Flame,” and “Solitary Man” all of which were released as singles. You would think that if the goal was to have all of their singles on one release then these wouldn’t be missing. Aside from this and the addition of their later material, the albums are almost the same. All the popular songs from Love Metal and their previous albums are included on both, though XX only has the radio edits, which is a little annoying. An improvement to the latter release is the inclusion of the original versions of “Your Sweet 666” and “Wicked Game,” which are better than the re-recorded versions that were on the 2004 compilation.

So is one really better than the other? Personally, I don’t think so. They both have their strong and weak points. Of course if you’re a new HIM fan it’s best to begin with the newer compilation since it has most of their singles, but collectors will want to own both anyway. Since they’ve released yet another album, I’m sure this won’t be the last hit collection from HIM. Let’s just hope the next one is truly complete.

 

Playlist: On The Flip Side

The b-side can be a wonderful thing. Though some of the results are a little harrowing, often times it’s the flip side is more successful than the single. Something about not having the pressure of making a hit single or pleasing radio stations invites artists to experiment and lets loose, which leaves us with some amazing songs.  There was no way I could cover all of the best or notable b-sides in this playlist, so these are just a handful of tracks from some of my favorite artists. So sit back, push play, and get lost in the whimsical world of the b-side.

“Dangerous” – Depeche Mode

This b-side to the already steamy “Personal Jesus” is one of the band’s sexiest songs. It doesn’t have anything to do with the content, rather it’s all about the sound. The hard electro beat and Dave Gahan’s smooth baritone vocals just makes the whole thing sound sexy as hell. Something about it puts a twist in your spine and gives you goosebumps. It even sounds a bit dangerous, especially with the slinking rhythm. In terms of style, the song has the same dark, cold vibe that took over the Violator album. Most would say “Happiest Girl” is the band’s best b-side and while it is good, it’s this gem that’s always been my favorite.

“10:15 Saturday Night” – The Cure

The Cure is one of those bands with a ton of amazing b-sides. I actually made a list of ten of my favorites a while ago. Since that list has all my favorites, here’s another stellar b-side from the band I didn’t talk about. This song features the unmistakable cry of Robert Smith and the “drip, drip, drip” line that pounds into your head. It was this song that convinced Chris Parry to sign the band to his newly formed label Fiction. And though it was the b-side to “Killing an Arab” you could still find it on their debut album. Still, you gotta give credit to the track that started the long and wonderful history of The Cure.

“Pink Ego Box” – Muse

Muse is another band with an insane amount of great b-sides, which is why I also made a list of favorites. While this b-side to “Muscle Museum” didn’t make the cut, it’s still one of their better tracks. It has a pretty simple beat and guitar riff while a young Matt Bellamy wails on about online relationships. The song doesn’t get intense until the end when the rough guitars start screaming along with Bellamy who yells “You turn me on” repeatedly. There’s actually an earlier version of this song  under the name “Instant Messenger” that had an AOL clip saying “You’ve got post.” It had to be removed for copyright reasons, so the band renamed the song. The second title is way more intriguing anyway.

“Into the Groove” – Madonna

This song was originally the b-side to the Madonna single “Angel.” Only later when it was featured on the soundtrack to her film Desperately Seeking Susan was it released as a stand alone single. Either way this is still one of Madonna’s best songs. It celebrates and emulates the club scene she was so fond of in her early years. With the high energy and the blazing synth, you can’t help but get up and dance whenever it comes on. It’s become a fan favorite over the years and is a track Madonna rarely leaves out of her setlist. The song has been remixed, reworked, and reimagined since it was first released, but nothing beats the original that helped make Madonna a megastar.

“Get Down Make Love” – Nine Inch Nails

There are more remixes than b-sides in the NIN catalog, but during the Pretty Hate Machine era, Trent Reznor and company did an industrial cover of this Queen song for the b-side of “Sin.” Whereas the original tries to be sensual and sexy, this version is nothing but raw, harsh, and creepy. The song has all the pulsing synth and electronic that makes NIN songs distinctive and it opens with a odd sample of a doctor asking about a patient’s sexual history. Moaning can be heard throughout the track and if you listen close enough you can hear the actual Queen version albeit played backwards. The experience is weird and eerie, but when you look at songs like “Closer” did we really expect Reznor to treat love and sex nicely?

“Tonight We Murder” – Ministry

Some of the most terrifying and heaviest music comes from Ministry and this song fits both those labels. Released as the b-side to “Stigmata” this track sounds like pure hell. Al Jourgensen cackles, wails, and screams like he’s being tortured while the intense music thumps and grinds to the beat. Everything keeps getting more brutal as Jourgensen steadily loses control as he’s singing. The best is the hook where he sounds evil when he repeats “tonight we murder/tonight we murder.” It actually sounds very similar to Thrill Kill Kult‘s early material, which is no surprise since the two previously worked together.

“Again” – HIM

This melancholy track first appeared as the b-side to “In Joy and Sorrow,” but was later released on a limited edition of Deep Shadows and Brilliant Highlights. The track is pretty standard for the band: dirty guitars, Ville Valo’s soaring sweet vocals, and Gothic inspired lyrics. This is yet another song that seems to explore the realm of love and death like most of their material. It easily would’ve fit on their third album. The song was later featured in the film Haggard, which was directed by Bam Margera (remember him?) This doesn’t come as a surprise since Bam was obssesed with the band and eventually became friends with Valo.

“Carry Me In” – Cage the Elephant

Cage the Elephant is a current band I know of that actively releases b-sides. All of them are pretty solid, but one of the best is this b-side to their 2011 single “Shake Me Down.” Singer Matt Shultz sounds weary and weakened as he sings “Love/carry me in/held down by my words/and weight of my sins.” The music starts out kind of frantic especially the beginning, which kind of has this spaghetti Western vibe. Right when you think the song is over, everything slows down to a lull and Shultz continues to mumble his way through the rest of the song. What started out as kind of bright ends on a melancholy note.

“You’re so Vague” – Queens of the Stone Age

I originally wanted to go with “Born To Hula,” but it’s a re-recording of a Kyuss song, the band Josh Homme used to be in. So, I went with this Rated R b-side instead. Using a play on the Carly Simon single “You’re So Vain,” Homme uses his sweet, soothing vocals to sing cringing lyrics like “Green eyed boys/lick the razor blades/girl I think I love you/and the mess you made” and he sounds hypnotic while doing so. There’s even a cool twist on the hook where he sings “Baby you’re so vague/that you probably think this song ain’t about you.”  As usual with QOTSA songs, the music is fucking awesome with guitars that move at a dragging pace, but still manage to sound sexy as hell. Then again don’t most of their songs sound sultry?

“We Will Rock You” – Queen

Did you know that this massive Queen hit started out as a b-side? What’s now considered an anthem for every sporting event across the world was originally the flip side to the equally popular “We Are the Champions.” Its simple stomp clapping beat, Freddie Mercury’s passionate vocal delivery, and Brain May’s searing guitar solo at the end are what makes the song unforgettable. It’s a timeless track and definitely among the band’s best. Both songs were actually written after one show during their 1977 tour when the band walked off stage and the crowd clapped and sand “You’ll Never Walk Alone” to them. Let’s just try to forget the horrible cover versions.

“Sick of Me” – Green Day

This b-side to “Hitchin’ a Ride” finds the classic snotty Green Day attitude as Billie Joe laments a dying a relationship. Though it’s a good song, it’s pretty similar to their other tracks from this time: simple three chord rock with a catchy hook. Still, there are some great bratty and funny lyrics like “Like a dog/that just pissed in your barbecue/sick of me.” This couple tries to make it work, but by the end Billie admits “I’m sick of you too.” Since it follows the winning Green Day formula, it should appeal to most fans. The track was later released on b-side compilation album Shenanigans.

“Fingers and Toes” – Biffy Clyro

If there’s one current band dedicated to the art of the b-side it’s Biffy Clyro. For just about all of their albums, they’ve released a companion b-side LP. They have so many it was hard to pick just one, so I went with on my favorites from their last release Similarities. What instantly catches your attention is the opening line “ladies ask why I’ve got/no fingers and toes.” From there the music kicks up and gets pretty intense, but what’s great about this is they do it without a mass amount of distortion. And even though the music has amped up singer Simon Neil’s voice remain calm throughout. Biffy is definitely one of those bands where their b-sides are just as good, sometimes even better, than the a-sides.

“Throw Them to the Lions” – Siouxsie and the Banshees

Released on the flip side to “Dazzle,” this b-side is the exact opposite of the single. Whereas the a-side is very upbeat and almost whimsical, this one greets the listener with a minute of noise and distortion before Siouxsie Sioux’s soothing voice comes on. Everything about the track is pretty chaotic and all over the place. The music is really dirty, harsh, and intense making it a stand out track. The song also manages to be catchy with Sioux’s warrior cry of “hey/hey/hey” midway through. Sioux and crew have quite a few good b-sides, but this one has always been my favorite.

“Aneurysm” – Nirvana

Though the song did eventually see a wider release both on Incesticide and From the Muddy Banks of the Wishkah, this Nirvana track was originally released as the b-side to “Smells Like Teen Spirit.” From Kurt Cobain growling “Come on over/and do the twist” to the whirring guitar riff that opens the song, it has become one of the best tracks in the band’s entire catalog. The song has several references to Cobain’s ex-girlfriend Tobi Vail of Bikini Kill along with poking fun at pop music conventions and even his own drug use, which was nothing but a rumor at the time. The best part comes when Cobain lets loose a ragged and weary howl right before the end. It shows how Cobain knew how to transfer a lot his pain into kick ass songs.

There are a ton of b-sides I missed, so let me know which one is your favorite in the comments!