Nirvana's Equipment
***Table of Contents***
Some people you should know mentioned here often: Earnie Bailey, Kurt's main guitar technician, who sent a package of information to Chris Lawrence (included below and cited as source 41). Jim Vincent, Kurt's guitar technician from the "In Utero" tour. Finally, Ralph Smith, who did the original equipment FAQ.
Kurt played guitar left-handed, mostly using left-handed guitars, but
sometimes using a right-handed guitar strung for a lefty and played upside
down. If a right-handed guitar is mentioned in this document, it was being
played this way.
A). Fender Mustangs. Kurt said that his favorite guitar was a
Mustang (9).
1). One of the most note-worthy of the assorted lefty Mustangs he used
was a 1969 Lake Placid Blue "competition" model, which Kurt babied.
This is the guitar from the "Smells Like Teen Spirit" music video;
however, Kurt had been seen using one during shows (seen 2,10,15). Fender
produced the Mustang competition series from 1968-1973 and they are easily
identifiable by the three racing stripes on the body. Pretty much all of
the colors were "custom" except for a couple of standards; blonde
for instance (11). Others note that red, orange, or burgundy were the non-custom
colors (12). The "Fender Book" says that the competitions, quote,
"sometimes" came with matching headstocks. According to Fender,
they do not have records as to the exact years when their guitars were
produced and production specifics. It seems the public thinks the opposite
but the fact is Fender simply doesn't know (11). Kurt's Mustang was lake
placid blue with matching headstock. It had two black, single coil sized
pickups with a white mother-of-pearl pickguard; the bridge was replaced
with a Stewart MacDonald Gotoh Tune-O-Matic (Kurt's favorite) before the
Argentina trip. He trashed this guitar during the infamous Tree Club show
(seen 2). As a result, it had lower edge damage and a broken neck joint
(41). This guitar can also be seen on the relatively well-known "Hollywood
Rock" festival concert footage shot in Rio de Janeiro, Brazil in 1993
(seen 13, 10).
From what I've heard, this guitar is now in the Australian Hard Rock Cafe's collection of guitars (10).
2). Fiesta red with red-swirl-mother-of-bowling-ball pickguard (seen
1) (later changed to white pearl pickguard) with two black single-coil
sized pickups (which may have come with the pearl pickguard, if I'm understanding
Chris' Tutorial info correctly) later routed for a humbucker. Kurt received
this guitar right before the first Roseland show. It came with a red-swirl
pickguard which Earnie Bailey replaced with a white pearl pickguard from
Chandler. It was used during the In Utero tour, most often seen with the
white pearl pickguard. This was the first Mustang Earnie routed to fit
a full-sized humbucker in the bridge. It was fitted with a Seymour Duncan
J.B. Kurt later wanted all of his Mustangs routed for the J.B., that is,
except for the '69 competition (41).
The March 1995 issue of "Guitar World" magazine mentions Kurt
sent out 4 new, stock, Mustangs to be routed for humbuckers (32). These
were sonic blue and one fiesta red (41). The way Earnie modified these
guitars is fascinating:
"First, they had to be cut for the heavier strings. Then, the necks
were shimmed for a better bridge angle. Then, Gotoh Tune-O-Matic bridges
were installed. Then, Earnie had to modify the tailpieces (large, cylinder-shaped
objects that the ball-end of the strings sit in). He removed the two springs
(for the vibrato bar) and added washers underneath to the posts beneath
the bridge plate, which locked it down to the plate. Earnie sent me (Chris)
a diagram. but it's hard to explain. Basically, this procedure made it
solid like a stop tailpiece. This meant that you couldn't use the vibrato
bar, which Kurt detested anyways. Last, Earnie flipped the tailpiece around,
so instead of having to put the strings through under the bridge, you could
stick them right in normally. The ball ends could then fit in the recesses"
(41).
3). Robin's egg (sonic) blue with a full-sized humbucker in the bridge
(seen 15, 7). There were three of these guitars, two of them set-up like
above. One had a red-swirl pickguard (seen 7), another a matte red pickguard.
These three were sent out for the In Utero tour. The third one was never
set-up or modified and stayed at Kurt's house-- I don't know the type of
pickguard, although I'd assume it was red-swirl (41).
4). Early 60's sonic blue Mustang. It was used in Geffen's "In
Bloom" video (seen 42)(41). Kurt picked up this guitar at the time
of the video shoot in Los Angeles. Earnie saw it at Kurt's house and says
it was really clean-- it had no body contours and stock hardware. It never
toured (41).
5). I've been told a white Mustang is visible behind the mannequin in
the "Sliver" video but with a single-coil pickup in the bridge
(seen 36). Maybe it was one of the pre-modified sonic blue Mustangs?
6). Supposedly a no-name Mustang with no pickguard, used in the Sub
Pop "In Bloom" video (seen 43)(41).
7). Early 60's sanded-down Mustang used when Jason Everman was with
the band. Had no contours and no decal with unusual hardware. Had a Soundgarden
sticker on it (41)(seen pgs. 95, 96 on (25)). Also said to be visible in
the "Incesticide" cd insert, but I don't know if it is really
the same guitar ("Incesticide" 44).
8). Mid-70's sunburst Mustang with black pickguard, black Hot rails,
rosewood neck, and rusty parts. Earnie Bailey says this was used for the
encore at the Rio show (41)(seen 13). Yet on the video which many of us
own, he plays a Univox. But like Chris says on his Tutorial, "Although,
there is some confusion as to what the Rio concert was. Most believe it
is the Hollywood Rock Festival, January 23rd, 1993 (41). Aneurysm and Dive
from 'Live! Tonight! Sold Out!' were taken from this show (seen 16). However,
the 'LTSO' book lists this as being in Sao Paulo, while "Come As You
Are" says otherwise (25). I'm confused about this, so...but Earnie
says Kurt played this guitar, so I guess he had it at some point in time"
(41).
Also, despite how many pictures appear, Kurt never used a white Mustang.
The sonic blue tend to look white, especially with the crazy light show
NIRVANA had during the "In Utero" tour. Jim Vincent's girlfriend
did the lighting for the shows and also designed the sleeve for the band's
first single. If any of you have any photos of the whole stage from the
"In Utero" tour, please let me know!! Jim has been looking for
pictures of the stage for his girlfriend's portfolio! Thanks.
B). The Fender Jaguar.
1). Kurt's main guitar during the Nevermind era was a 1965 sunburst
(red faded out) Fender Jaguar with red-swirl mother-of-bowling-ball pickguard
(seen many 15). 2 volume knobs,1 tone knob, and a black chrome Schaller
bridge. There was tape covering the on/off and phase switches. There are
full-sized humbuckers in both the bridge and neck positions, the neck being
a DiMarzio PAF and the bridge a DiMarzio Super Distortion until the In
Utero tour when it was replaced with a black Duncan JB. It was purchased
already modified from the "L.A. Recycler" (info on source at
45)(41). The Jag had an incorrect decal under the lacquer. It had an anvil-type
flight case for a while. This wasn't the guitar Kurt claimed to baby. According
to Earnie Bailey, Kurt never polished it. To quote Earnie from Chris' FAQ,
"He NEVER polished the thing! It was disgusting. "Lithium"
video it hits the stage hard (seen 46). In Rio (seen 13) it gets soaked
in cantaloupe juice and seeds, then dropped onto the camera rails when
Kurt is spitting on the camera" (41).
The Jaguar was especially seen on tours circa 1991 (seen 19, 22, 10).
It was also played by Eric Erlandson in Hole's "Doll Parts" music
video (seen 23)(41).
2). 60's sunburst (Fender?) Jaguar, dot neck, bad reproduction pickguard.
It seems Kurt had another Jaguar but it wasn't the same as his '65. It
was lefty like Kurt's other Jag. It had DiMarzio pickups which were returned
to stock pickups by Airline Vintage in Texas where the guitar was purchased
in the Fall of 1992 for about $500 (41).
3). Framos Jaguar copy which was used as a prop in an "Alternative
Guitar" magazine cover. Probably from 1992 and also probably just
a prop guitar (41).
C). There were occasional Fender Stratocasters (Japanese
preferred, because of lower price and smaller frets (22)).
1). All-white Fender Strat with 3 white single-coil sized pickups, of
which Kurt had 2. The stock pickups were replaced with Seymour Duncan Hot
rails, white or black at any given time because these pickups damaged easily.
Both guitars also had various necks (41). One was used at the MTV Video
Music Awards in 1992 for "Lithium" (seen 47). One Strat was trashed
at the Seattle Center in 1992 (source info?) and the other at Argentina
(source info?)(41).
2). All-white Fender Strat with 2 white single-coil sized pickups and
a tilted black humbucker in the bridge. Had the "K" sticker (seen
37 and also quickly in two of the segments in between "Sliver"
and "On a Plain" in (16)). (Owned before the above two other
all-white strats) (41).
3). All-black Fender Strat, black pickguard, 2 white single-coil sized
pickups and a black full-sized humbucker in the bridge, used as early as
1991. Said to be maybe a Strat Special. It looks like there is a two position
coil splitter where the third tone knob would be (10), but I think I've
seen it with the third tone knob instead of the coil-splitter, as well
(16). Maybe the last knob had just come off? Had the sticker, "Vandalism:
As beautiful as a rock in a cop's face" (seen 15) and supposedly,
"Courtesy of the Feederz: Office of Anti-Public relations" (41).
The neck/headstock was replaced with a Fernandes for the 10/31/91 Seattle
Paramount Theater show (seen 15, 16, 10) where it was broken off again
and replaced. This guitar was smashed in Paris in the spring of 1992 or
the winter of 1991 (41).
4). Black Fender Strat with a white pickguard, three single-coil sized
pickups and a full-sized black humbucker in the bridge (had a chrome ring
around it)(seen pg. 177 on (25)). Had a chrome Tune-O-Matic bridge and
a stop chrome tailpiece (41). It was smashed during the recording of "Endless,
Nameless" for "Nevermind" ("Nevermind" 33)(25)(41).
Once fixed, it had a black pickguard and black pickups which made it look
like the all-black Strat above, except with a Tune-O-Matic bridge (41).
5). Kurt has also been seen with a sunburst Strat with a white pickguard
and three white single-coil sized pickups (seen 15 and pg. 273 on (25)).
Smashed in Florida. Earnie built it for Kurt out of Stewart MacDonald parts.
The bridge and pickguard assembly were leftovers. Earnie put an aftermarket
Fender decal on it (41). And as Chris suggests on his page, yes, I think
this is illegal to do. :)
6). Black Fender Strat which was set up like the all white Fender Strats
and also from around the same time. It had a black Hot rail in the bridge.
Dave smashed this guitar at the Reading Festival in 1992 (seen 48)(seen
pg. 274 of (25))(41).
7). Candy apple red '57 Japanese Fender Strat reissue, early-style white
Seymour Duncan hot stock pickup. Cost $200. It had a maple neck and white
single ply pickguard which Earnie Bailey switched to a rosewood neck which
Kurt like better. It was smashed during the east coast leg of the In Utero
tour (41).
8). Kurt used 5 or 6 black Fender Mexican Strats with white pickguards
and black Seymour Duncan Hot rails in the bridge during the In Utero tour,
used mostly for smashing (seen 16). They were pieced back together all
the time (41).
D). Occasionally, he used Fender Telecasters (not often
apparently).
1). Blue Fender Telecaster, had the "'heart' Courtney" scratched
into it (seen 15). Well, actually it was sunburst, but Kurt painted it
blue with latex house paint and scratched the heart and the "Courtney"
into it; you're actually seeing the red sunburst underneath (41). In Chris's
FAQ he says this guitar was used in the "Come As You Are" music
video (seen 49) which is certainly true, but is a bit misleading. It is
only visible a couple times and very quickly. The large guitar seen often
in the video is discussed shortly.
2). I've been told a red Tele (from the Australian tour) has been seen,
but I don't know if it is true (10).
3). Sunburst Telecaster Custom. Taken directly from Chris' FAQ, quoting
Earnie Bailey:
"Fender sent this out for the In Utero tour to replace the blue
one (#1). Stock pickups were very shrill. After Kurt's coma in Rome, I
thought modifying this guitar would make it a workhorse and get him away
from the Mustang-Jaguar image. Hopefully get him perked up. I put on new
tuners (Gotoh's - his favorite). A Tele bridge from Stew-Mac with a Humbucker
cut-out and individual saddle for each string. In the bridge, I put a Duncan
JB - black, and in the neck, and new Gibson PAF, potted with a Chrome cover.
He got this 2 weeks before he died, and said it was his new favorite. He
used it for the home recordings he was making with Pat" (41).
E). Custom-made Fenders, built for Kurt
1). The Ferrington Guitar. The luthier Danny Ferrington made a custom
guitar for Kurt in 1992, based on the Fender Mustang. Here are two articles
on it.
"Kurt is left-handed, and he really likes the Fender
Mustang he's been playing for a few years. But his
playing style is so rough, and left-handed Mustangs
so rare, that it was beginning to look as if his
favorite guitar was going to break apart right out from
under him. I'd talked with Nick Close, one of
Nirvana's roadies, about trying to find replacement
necks for the Mustang, but finally Kurt called me to
talk about ordering a new custom guitar.
"Nirvana left for Australia a few days later, and Kurt
faxed me a great little picture showing where he
wanted the pickups to be and what shape to use for
the body. It was the first time I'd collaborated by
fax, and I thought it was real fun to be designing a
guitar by long distance using such a modern
communications technology.
"I built his guitar to be a lot like that old Mustang,
except we used a Gibson-style bridge that's better
at keeping the guitar in tune, and I made the neck a
little straighter so that it won't be so apt to break
when Kurt plays it hard. It's tricky making left-
handed guitars, though, because everything on a
left-handed guitar is counter-intuitive for me. Right
off the bat I made a few mistakes on Kurt's guitar,
so finally I took to labeling all the parts 'This Side
Up' to remind myself that I needed to do everything
backwards. The guitar turned out real well, and a
few months later Kurt came by with his wife to pick
it up. Just after he started playing it he stopped
dead in his tracks and said, 'This is like my dream
guitar!' His wife asked, 'Honey, are you gonna
trash this one too?' but Kurt got this horrified look
on his face, and in a solemn voice he said, 'No, this
one's going to be my recording guitar.' I was tickled
to death, and it was incredibly satisfying to hear that
I'd hit the nail right on the head" (28).
The Ferrington guitar is distinguished by several
features. It has heart-shaped fretboard "dot" inlays,
a stylized "f"(for Ferrington) on the peghead, three
pickups (which look like single coil neck and middle
pickup, and a humbucker bridge-position pickup),
and an almost-Mustang pickguard where the plastic
continues right down to the control knobs (this
section is chrome on actual Mustangs). The
Mustang slide switches are replaced with a toggle
switch where the input jack would be. The actual
input jack is a Stratocaster-style jack mounted
below the pickguard. The body is basswood, with a
maple neck and rosewood fretboard. Its finished in
what Fender calls sonic blue, with a red-swirl mother-
of-bowling-ball pickguard. I don't know of any
pictures or footage of Kurt playing this guitar, but this
could be because it was used only as a "recording
guitar" (28).
Second article:
"[Kurt] hooked up with Danny Ferrington via Richard
Thompson's guitar technician, who was friendly with
Nirvana roadie Nick Close, who was desperately searching
for left-handed necks to replace the ones that Kurt had
destroyed onstage."
"'Kurt called me from the backstage of Saturday Night Live
when Nirvana was doing the show,' Ferrington narrates. 'We
talked for a long time about what he wanted. Basically, he
loved Fender Mustangs, but he also hated them because you
couldn't tune them. And it's hard to raise the action. He
thought you could improve on it. He essentially wanted a more
sophisticated Fender Mustang. So we talked about the features
he wanted. Then the band went to Australia, Kurt faxed me
over a little drawing that he'd done, with the pickup placements
and other little notes.' The instrument Ferrington built is depicted
in his book. In body shape and headstock, it's closely modeled
on a Fender Mustang, but it has a Gibson-style Tune-O-Matic
bridge and three Bartolini pickups. The bridge pickup is a
humbucker, while the neck and middle pickups are single coils.
The middle pickup is angled. The bridge pickup, Ferrington
further explains, 'has a coil tap, so you can get series, parallel,
and single coil. Kurt said he wanted a lot of switch options.'"
"The bridge pickup variations are governed by a small toggle
switch located below the guitar's two knobs (a tone and a
volume). There's also a Strat-style pickup selector. The
instrument's body is made out of basswood, with a maple neck
and a rosewood fretboard. The baby blue body colour and
tortoise shell pickguard were Cobain's choices, as were the
heart-shaped fret inlays"(32).
Kurt loved the look of the Ferrington, but he didn't like the Bartolini
humbucker or its heavy weight (41).
2). The Jag-Stang (18).
Another custom collaboration was with Fender, and was again based on
the Mustang. Here are two articles on it:
"Cobain worked with the Fender Custom Shop to
develop the "Jag-stang," a very functional
combination of Jaguar and Mustang design. "'Kurt
always enjoyed playing both guitars,' says Fender's
Larry Brooks. 'He took photographs of each, cut
them in half, and put them together to see what
they'd look like. It was his concept, and we
detailed and contoured it to give him balance and
feel.
"'He was really easy to work with. I had a chance
to sit and talk with him, then we built him a
prototype. He played it a while and then wrote some
suggestions on the guitar and sent it back to us.
The second time around, we got it right.'
"The guitar features a Mustang-style short-scale
neck on a body that borrows from both designs.
There's a DiMarzio humbucking pickup at the bridge,
and a Texas Special single coil at the neck, tilted at
the same angle as on a Mustang. Cobain was quite
satisfied with the guitar. "'Ever since I started
playing, I've always liked certain things about certain
guitars but could never find the perfect mix of
everything I was looking for. The Jag-stang is the
closest thing I know. And I like the idea of having a
quality instrument on the market with no
preconceived notions attached. In a way, it's perfect
for me to attach my name to the Jag-stang, in that
I'm the anti-guitar hero - I can barely play the things
myself'" (18).
Second article:
"'I was able to track down what they needed,' says Fender
Director of Artist Relations Mark Wittenberg, 'so they
could keep his guitars up and running. Then we were
contacted and told that Kurt had an idea for a guitar --
something that he had in his mind's eye but wasn't really
seeing out there in the real world. His favorite guitar was a
Mustang, but there were things about the lines of the Jaguar
that he really liked too.'"
"Wittenberg and Fender master builder Larry L. Brooks
journeyed to Cobain and Love's Hollywood apartment to
discuss the guitar. The couple were just in the process of
moving out. Like Ferrington, the Fender guys were
impressed with Cobain's courteous manner. 'He was very
soft-spoken and very gentle.' Brooks recalls. 'As it turned
out, we'd gotten him out of bed. He'd been out or played
the night before, so he was still a little tired. But as we
started talking about the guitar, the adrenaline started flowing.
He was very easy to work with. He knew what he wanted,
but at the same time he was able to say, "You're the builder,
so you know the best way to accomplish what I'm after." He
was very open-minded that way'" (32).
Fender cut a body and sent it to Kurt who sent it back with
some slight suggestions. He then sent out one of his favorite
necks for them to copy (41).
"The resulting instrument has an alder body, plus a 24-inch
scale maple neck with a rosewood fretboard and vintage-style
fretwire. At Cobain's request, Brooks used stock Mustang
hardware from Japan, where the guitars are still produced (32)
(according to Nirvana guitar tech Earnie Bailey, the bridge
was later changed to a Tune-O-Matic (41)). The neck pickup
is a single-coil Texas Special, which was originally designed as
a bridge pickup for Fender's Stevie Ray Vaughan model. The
bridge pickup is a Dimarzio H-3 Humbucker."
"'The Texas Special is a little hotter than most single coils,'
Brooks explains. 'With a humbucker at the bridge, the Texas
Special in the neck position really helped to balance things out
so that there wasn't such a drastic drop in volume and output
going from one pickup to the other.'"
"'Kurt requested two guitars' says Mark Wittenberg, 'one in
Solid Blue and one in Fiesta Red.' The blue instrument was
delivered to Cobain, who used it on Nirvana's 1993 tour. 'We
were just finishing the Fiesta Red one,' Wittenberg continues. 'In
fact, we were literally ready to deliver it when we received
word of his death.' The red guitar has been earmarked the
Fender museum which is being planned" (32).
The "Jag-stang" was seen starting in mid-to-late 1993 (18)
although Kurt rarely played it. A reviewer for Guitar Shop saw a "cross
between the Jaguar and Mustang, the Jag-stang features a sonic blue Jag
body with white pickguard and Mustang bridge" (24). As most of you
know, the Jag-stang has hit the stores some time ago. A great, detailed
article on it can be found at Guitar World Online, soundcheck (see source
4 under " IX. Sources" below for web address). Like Chris points
out on his FAQ, and others have told me via e-mail, the Jag-stang isn't
exactly as Kurt intended it to be. He forgot to have Fender do the contours
for the arm and the stomach. Earnie had also talked with Kurt about re-shaping
the body for a more traditional Fender look. Earnie told Mark Wittenberg
about these changes (also, the fitted bridge). Mark was interested in the
changes, but he passed away, too. So Fender released that Jag-Stang in
the way Kurt had received it (41).
Courtney gave the Jag-Stang to Peter Buck after Kurt passed away (41).
He played it in the "What's the Frequency, Kenneth?" music video
(seen 27), and Mike Mills plays it live on "Let Me In" (41).
F). Although Kurt is known for his Fenders, he used a non-Fender
from time to time. One type which definitely needs to be noted was a Univox.
The following section is taken directly from Chris' FAQ (41); I only
replaced the referred pictures to comply with my citing system and changed
the numbering of the guitars.
"1). Univox Mosrite copy. Actually called "Hi-Flyers"
on pg.116-117 of Rolling stone's Cobain book (source info?). White pickguard,
maple fretboard.
2). White Univox (also mentioned (32)). Not custom made. Used in Heart-Shaped
Box video. Maple fingerboard. Had a B.C. Rich made Badass bridge. Smashed
in Kansas City 1993. There is another one just like it that survived. It
had different string trees than the one used in the video. Earnie sent
him this guitar to use in the video when he couldn't find...[the] 1969
competition Mustang, which turned out to have been under his bed the whole
time!
3). Sunburst Univox Custom (also mentioned (32)). Used on SNL 1993.
It had a nailed on logo that said "Univox Custom". This was his
favorite Univox. This was the first guitar that had a Duncan JB installed
in it. Kurt loved the sound of this "plywood beast". Earnie bought
it for him for $150. The previous owner was a Minister in Everett, Washington.
This had an Ibanez Badass bridge installed. Possibly seen on pg. 286-287
of (25).
4). Univox Hi-Flyer. Had a Mahogany Neck and stock single coils at Sao
Paulo show. Kurt liked this one too. Later got a humbucker in the bridge.
I think Earnie meant the Rio show. Hollywood rock show, anyways. Encore.
5). Natural Univox Hi-Flyer. He had 2 of these, in Fall 1993. They had
stock humbuckers (he liked these pickups a lot), Badass bridges (stock
humbucker models had single-piece bridges, while P-90 single coil models
had Jazzmaster type bridge-tail piece units). He had a friend paint one
of these in a Van Gogh style. These had maple necks and fingerboards.
6). Black Univox Les Paul Custom copy. Given to Kurt by Publicist Anton
Brooks on Europe tour 1991. Bolt-on neck, stock hardware, painted Flipper
fish over logo in white, and had a Witchypoo sticker on the body.
7). Univox, with pink and green stickers all over it. Also had Monkees
sticker and "WASP: We are scary posers" written on it. First
ever smashed guitar. Seen pgs.61, 116 of (25)."
End quoting from Chris' page.
G). Miscellaneous Guitars
1). Sunburst Mosrite Gospel with white pickguard, which Kurt loved.
It was used at the Motor Sports show (41)(seen 51). The day of this show,
Kurt bought:
2). Orange Vantage Les Paul copy, had a bolt-on neck. Also smashed at this show (41).
3). The Hard Rock Cafe's collection of guitars has Kurt's "trademark"
Fender Jazzmaster which is autographed . As far as I know, Kurt never used
a Jazzmaster, so this seems to be a mystery. The photo also has, I believe,
Kurt's all-black Strat which was destroyed and pieced back together (35).
4). Bluish Gibson SG Standard, pickups taped in. Used in Tijuana where
it was broken in half and had the neck broken off. Chris says that it reappears
at Raji's (source info?), but I think he means the HUB Ballroom in January,
1990 (source info?). (Seen on pg.131 in (25))(41).
5). Mid 60's Sunburst Fender electric 12-string, dot neck, right-handed
(unlike most if not all of Kurt's other Fenders). It had cherub stickers
on it. He wrote "Serve the Servants" on this guitar. Courtney
had one too, but both guitars were damaged in the Spring of 1992. Kurt
hid some guitars, songbooks, and tapes in their bathtub figuring burglars
wouldn't look in the tub, were the house ever robbed. The bathtub filled
with sewage and damaged his guitar the most-- the body was water-stained
about halfway up, split, and warped. Earnie offered to build a new body
for it, but Kurt didn't think the guitar was worth saving. Kurt was very
depressed about the unfortunate accident to this guitar (41).
6). Black Epiphone Les Paul which was used for (and probably only for)
the "Nevermind" under photoshoot (41)(seen (25), pg. 184 I believe).
7). Chris has a Red Epiphone ET270 on his page; it doesn't come from
Earnie, but from another source (41). He also says it was used in the SubPop
"In Bloom" video (43) and was his main guitar around that time
(41)(seen (25), pg. 132).
The following I quote directly from Chris' page (again, I only changed
the numbering and conformed it to my source system):
8). Blonde F-hole Archtop Harmony. Used in Come as You Are video. It
had fake painted flame maple on the sides and top. Also had a maple fretboard.
This sat in Kurt's doorway to his home with a broken headstock. Kurt said
he liked it that way.
9). National Map Body. Seafoam Green, right-handed, tremolo, small body
fiberglass model, 2 pickups, not a big Glen Wood, strung lefty, but strap
button not moved. Never toured.
10). Hagstrom blue glitter 3/4 size Les Paul copy. He got this in December
1992, paid $500, a lot for that model at the time. Had a pearloid fingerboard
and back.
11). Lefty Rickenbacker 4001 Bass. Natural, he loved this bass.
12). Ibanez Les Paul custom copy, cherry sunburst, Dimarzio X2N pickups,
2 coil tap mini switches (installed when bought), lefty, set neck, flame
in top, black pickguard and pickup rings, pickguard may have been removed.
Black or gold speed knobs. This was a great lefty guitar but Kurt wouldn't
play it live because he said it looked too much like Jimmy Page! Earnie
may have sent this for the "In Utero" recording.
13). Blue Mosrite Mark IV. Damaged in bathtub incident, Kurt gave this
to Pat at SNL 1993 (seen 50)."
End quote from Chris' page.
14). The odd, unknown guitar on my pictures page has been said to be
a BC Rich guitar (10).
15). Kurt's first guitar was a Lindell, given to him on his 14th birthday
by his uncle, Chuck Fradenburg (53).
H). Acoustic Guitars
1). Prior to the In Utero tour, Kurt's main acoustic was an Epiphone
Texan (32). It was probably from 1961. It is easily identified by the "Nixon"
(or is it "Nixon Now"?) sticker. The guitar's adjustable bridge
was changed to a lefty flat-top bridge. Earnie says this was one of the
best-sounding acoustics he's heard, and Kurt's best; despite this, he wouldn't
use it on "Unplugged" ("Unplugged" 21)(41). I think
I've seen this guitar used on (52), during the "In Utero" tour.
2). Takamine acoustic (seen 15), cutaway, and rented for use at a radio
show-- seen with Kurt wearing a black (?) leather jacket. NIRVANA wasn't
happy of pictures getting around of them playing "modern" equipment
(41).
3). Yamaha acoustic, so I'm told (seen 15).
4). Ibanez Vantage (or Vintage) acoustic, used for a Tower Records store
performance (source info?)(seen 51 according to Chris).
5). Natural finish Harmony 12-string acoustic. Other than the finish,
it is identical to (41):
6). Stella 12-string acoustic, see "Recording of "Nevermind"
section.
7). Martin D-18E acoustic, see "Recording of Unplugged" section.
"Bleach" (34) era:
1). Randall heads used in conjunction with the Japanese Epiphones noted
in "Guitars" section and whatever cabinets were available. He
later used:
Sunn-Beta Lead head driving 4X12 Peavey cabinets during the Bleach era
(32).
--
2). Mesa/Boogie preamp (9)(20)(22) - he turned "all the midrange
up" (22). May be:
3). Mesa/Boogie Studio (possibly "Two" or "Tube"
(41)) Preamp, rack-mounted with Crest power amp (40)(Crest 4801 (41)) (also
rack-mounted). Definitely used for the "In Utero" tour, I'm not
sure of before that. This was the amp set-up for the tour. Kurt didn't
break any "important" equipment during this tour (40).
4). 4 Crown 800W power sources (power amps) (9)(22).
5). Carver power amp (20).
6). Supposedly Mesa/Boogie Mark III heads (10).
7). Fender Twin Reverb. Used on "In Utero" (32) and "Unplugged."
See each section for more details on this amp.
8). Marshall 4x12 cabinets (seen in many 15). They're visible in most
any concert footage or photographs. For the live set-up on the "Nevermind"
tour, the individual speakers were 25 watt Greenbacks, 75 watt Celestions,
and then Vintage 30's (Kurt's favorite) (41). I believe Jim Vincent told
me the speakers during the "In Utero" tour were 25 watt Greenbacks
(40). During their last tour, Kurt used 8 cabinets, Chris 8, and Pat 4
(32).
9). Small, red vinyl Marshall "MiniStack" (or "MicroStack"?)
head and cabinets (seen 7). It is *most likely* the Marshall Lead 12 "MicroStack"
(10). The guy was just for fun, it was never used or plugged in. Supposedly
at the fall 1993 show in Chicago, Kurt asked the crowd if they wanted him
to break anything; he picked up the MiniStack and threw it across the stage
(10).
10). Fender Champ. (Chris says it is on pg. 58 of (25), which is incorrect.
I think he's referring to pg. 292)(41).
11). 70's Peavey Vintage with the fake vinyl tweed covering, 2X12. It
was Kurt's first amp and he said his favorite. Tube model, which is odd
for a first amp as most of you guitar players know-- most of us are hooked
into horrible solid-state amps when we first bought a guitar! Kurt's father
gave it to Goodwill; Kurt was always trying to find another one (amp, that
is!)(41).
12). The Mesa/Boogie amp head we've all wondered about from the Jonathan
Ross show is said to be a Strategy 400 Stereo, stereo power amp, rackmounted.
Thanks to Matt Salleo of the Krist Bass FAQ who saw a picture of this head
in a two-year old issue of the "Australian Music Trader" magazine
(source info?), or something to that effect (10).
13). '68 Fender Twin. Used for recording "Bleach." See "Recording
of Bleach" for more (54).
14). A Randall amp (probably solid-state) was used on 1/23/88 session
when Dale was on drums. It was probably also used that summer at the "Love
Buzz" session. Not used on "Bleach," however (54).
1). Roland (BOSS) DS-1 Distortion pedal (9) - Kurt always referred to
these as "Roland" pedals, rather than BOSS. Seen throughout "Bleach"
and "Nevermind"-eras.
2). Roland (BOSS) DS-2 Turbo Distortion pedal (19)(20). Also used on
"Unplugged" ("Unplugged" 21) and the "Nevermind"
tour.
3). "Roland EF-1 distortion" (probably a transcription error
for the DS-1), but Boss may have made an EF-1). "I go through about
five a tour..." (22).
4). Tech 21 Classic SansAmp amp-simulator box (seen 7). This was Kurt's
MAIN distortion during the In Utero tour, despite popular beliefs. Jim
said he remembered it's settings as "Three-up, three-down." The
top knobs facing away from you, and the bottom facing towards you. Pat
also had a SansAmp but preferred his Rat (40).
5), Electro-Harmonix Small Clone Chorus. This pedal was used extensively
throughout a good portion of Kurt's career. It is visible in most any concert
footage (including "Unplugged" it looks like, ("Unplugged"
21)) which catches a glimpse of the floor by Kurt's feet. Two of the best
pictures of it I've come across is the insert in the In Utero cd. It's
visible on the black-and-white side under the track listing "6 Dumb
2:29" ("In Utero" 8) and also in a huge picture in "Circus"
magazine (39).
6). Electro-Harmonix Small Stone phase shifter pedal (9) (used for some
live solos of "About A Girl" and "Francis Farmer..."
I've been told at times (10)). Jim wasn't sure if Kurt ever used a phase
shifter pedal, but he didn't think so. This pedal may have been:
7). Unknown MXR pedal seen live possibly. Possibly the above? (10)(seen
15). May also be:
8). Orange MXR Phase 100 which was used for "Curmudgeon" (available on several bootlegs, etc.). It was probably owned by the studio where it was recorded (41). Chris says a phaser was never used again, but I don't know if this is coming from him or Earnie.
9). DOD Grunge pedal. This was just a joke (40). At one show, it was thrown into the crowd! (10). Jim Vincent supports this-- although he says it wasn't "thrown," persay (40)
10). Supposedly a Dunlop Rotovibe (26)(10). I doubt he ever did use one, but you never know. Someone told me they saw Kurt use one at a show, but I can't verify it by any means. Supposedly, the only time Kurt ever used rotovibe was in January of 1994 at Bob Lang's North Seattle studio when Kurt forgot his pedals and a pedalboard of Earnie's. The effects it had were: a Boss flanger, a Boss vibrato, a Boss delay, a rotovibe, and an Ibanez Supermetal. Kurt recorded one song, "You Got No Right" ("On the Mountain")(on bootlegs, etc.) where the Ibanez Supermetal and maybe the Boss flanger were used (41). (Jim didn't know if Kurt ever used rotovibe (40)).
11). Electro-Harmonix EchoFlangers (32)(40) and PolyChorus (37)(seen
15). He supposedly only had one EchoFlanger, despite what is said in (32).
Kurt used the EchoFlanger on the Brazil shows (source info? Rio perhaps?)
and the song "The Priest They Called Him" (found on various bootlegs,
etc.). Both pedals were taken on the "In Utero" tour. The EchoFlanger
"acted up" sometimes and Earnie gave Kurt his PolyChorus as a
back-up. This PolyChorus was used on "In Utero" for the "Heart-Shaped
Box" solo, "Radio Friendly Unit Shifter," and "Scentless
Apprentice" (41). Earnie sent out another PolyChorus to Kurt, hoping
to get his back, but the "new" one broke and was given to Eric
Erlanderson of "Hole" who had it fixed. Earnie did eventually
get his PolyChorus back, but not before Kurt marked his settings on it
with nail polish and put Velcro on it. The EchoFlanger was supposed to
be used on "Unplugged" ("Unplugged" 21) but caused
too much 60-cycle hum in the control room because it is an AC unit. What
he would have used it on, I don't know. Possibly a normal, chorus-sound
for "Come As You Are." Courtney now has Kurt's EF (40).
Just wanted to point out that despite the different names, PolyChoruses
and EchoFlangers all have the same internal circuitry and I similar casings.
12). Supposedly a DOD phase shifter pedal, but I really doubt it very
much (10).
13). ProCo Rat. See "Recording of 'Nevermind'" for more details.
14). Electro-Harmonix Big Muff. See "Recording of 'Nevermind'"
for more details.
15). Univox Superfuzz. Kurt had it before "Bleach" ("Bleach"
34) but it was stolen from the band's practice space. Earnie built him
a handwired duplicate in a silver, metal box on which he humorously labeled
it "Yung-Mann Fuzz" (41).
16). Electro-Harmonix Clone Theory, an AC unit which Kurt didn't like
as much as the Small Clone and broke it (41).
17). Supposedly a Vox Tone Bender Fuzz, two of them actually, hooked
up next to each other (why I don't know!). Apparently, these two pedals
are on a poster of Kurt from around the "In Utero" tour where
Kurt is using his sonic blue Mustang; kneeling down pressing one of the
pedals on. The name (Vox Tone Bender Fuzz) is supposedly visable on the
boxes.
In the "Bleach/Nevermind" days, Kurt's effects were normally
as follows (from Kurt's point of view looking down, right to left): DS-1
(DS-2), Small Clone chorus.
Later it would be the DS-2, SansAmp, Polychorus, Small Clone, for example.
The Grunge would be between the DS-2 and the Sansamp. Again, other pedals
were supposedly used on occasion-- Rotovibe, phaser, etc. I don't know
where their positions would have been if they were even actually used.
Jack Endino says in the early days a Univox guitar with humbuckers was
used. It was around approximately until "Sappy" was recorded;
a new guitar was seen at least by the time Jack did the "In Utero"
demos which he remembers as being a small Fender guitar, "perhaps
a Mustang." Jack Endino's '68 Fender Twin amp was used on the album.
It didn't have any speakers and was run into a closed-back 2x12 cabinet
loaded with 70 or 75-watt Celestions of Kurt's. Jack says Kurt used a bottom-of-the-line
orange Boss distortion pedal (perhaps a DS-1?). The album was recorded
closed-miked with a Shure SM-58 (54).
See Jack Endino's Web Page
for more details!
"Nevermind" was recorded at the following studios: Sound City,
Van Nuys and Devonshire, North Hollywood. It was produced by Butch Vig
and NIRVANA. According to Vig, his guitars were "a late-Sixties Mustang,
a Jaguar with DiMarzio pickups and several new Stratocasters with humbuckers
in the bridge positions." His main effects were the aforementioned
DS-1 Distortion and Small Clone. A ProCo Rat distortion pedal was also
probably used on some songs. His main amp was a Mesa/Boogie Studio .22
(However, one source, ironically the same magazine the following year I'm
told, notes Kurt using a Mesa/Boogie Studio Two preamp and Crest 4801 power
amps (32)(10). But I've been told Boogie never made a Studio Two). He also
used a Fender Bassman on about four songs and a Vox AC30 for some clean
tracks. Four microphones were used to mike Kurt's speaker cabinet (he would
pick which one he liked best for each song and its signal was sent through
the Neve console at Sound City): a Shure SM57, an AKG 414, a Neumann U87,
and occasionally a Sennheiser 421.
According to Vig, the Small Clone was the key to "the watery guitar
sound you hear on the pre-chorus build-up of 'Smells Like Teen Spirit'
and also 'Come As You Are.'" An Electro-Harmonix Big Muff fuzz box
was used on "Lithium" for that "dark, thumpier sound."
Vig recalls using the U87 mike on "Lithium" because it wasn't
so bright and had a heavier sound.
"Polly" was recorded at Vig's Smart Studios in Madison, Wisconsin
during demo sessions for "Nevermind." The guitar had only 5 strings
which had never been changed; it was tuned down about a step and a half
down from E and was recorded with an AKG 414 microphone. The same guitar
is on 'Something in the Way.'" (6). It was a 12-string Stella Harmony,
but only had 5 nylon strings on it. It was sunburst in color, flattop,
with a white screw-on pickguard, and a floating wood bridge which was glued
down. It was purchased from Edgewater Pawn Shop and Sheridan Jewelry (cost
$29.00 plus $2.23 in sales tax) on October 12, 1989, when Kurt was living
in Olympia. Recorded "Polly," "Something in the Way,"
and the "Lithium" demo version with this guitar (Stella seen
pg. 4 on 38 and also quickly in two of the segments in between "Sliver"
and "On a Plain" in (16))(41).
This, like the "Recording of Bleach" section, is unknown. Again, check Chris' page for speculation as to the equipment used. One thing to note that I get asked often, you can hear what is almost definitely the Small Clone chorus on the intro to "Aneurysm."
"In Utero" was recorded at Pachyderm Studios in Minnesota
with producer Steve Albini (25). As for guitars, Kurt used his Fender Jaguar
and possibly the Ibanez Les Paul mentioned in the "Guitars, Miscellaneous"
section. The Stella acoustic, after it was fixed-up, was used for the acoustics
on the album (41).
A Fender Twin Reverb was the main amp used. It was a 1980's blackface
"Ultra Linear" model which was very clean in sound. It was 120
watts instead of 85. At first, it had two Peavey 6L6 power amp (output)
tubes in it (which meant it was now only 60 watts with the two tubes missing)--
Kurt didn't know how it worked with only two output tubes, but felt it
was the key to it's sound. Earnie knew it would sound even better with
4 matched power tubes so he (unbeknownst to Kurt) put in four new ones
for the "In Utero" rehearsals, who told Kurt he only cleaned
the pots. Kurt said it sounded better than ever and Earnie let him in on
the secret (41).
As for effects, the Boss DS-2, Small Clone chorus (on what I don't know),
Earnie's Polychorus, his own EchoFlanger, (41) and supposedly a Tech 21
Classic SansAmp amp-simulator effects box (32) were used. According to
Chris' page, no rotovibe was used despite what it says in the tablature
book ("In Utero" sheet music book 26)(41).
NIRVANA chose Steve Albini to record "In Utero" because he
was able to get a sound which was "very in-your-face and real"
according to Kurt (38).
Kurt said that because mics are so directional, to get a surrounding
sound you need to use many tracks or use an omnidirectional microphone
farther away from the instruments to pick up the reverberation from the
walls. The key was to use many microphones, a technique he had been trying
to get producers to do ever since they had been recording. Old, large German
microphones were taped to the walls, ceiling, and floor "all over
the place" (38).
VIII. Recording of 'Unplugged'
The acoustic guitar Kurt used on "Unplugged" ("Unplugged
21")(and his main acoustic guitar around this time, but he also possibly
used the Epiphone Texan as well) was a Martin D-18E that he had bought
at Voltage Guitar in Los Angeles in the fall of 1993. The D-18E was one
of Martin's earliest electric guitars. Only 302 were made before it was
discontinued in 1959. It is basically a D-18 acoustic but with two pickups,
three control knobs, and a selector switch.
Kurt probably didn't have any idea how rare the guitar was when he bought
it, according to Earnie Bailey. The D-18E didn't sound very good, so in
addition to the instrument's DeArmond pickups (which were designed to be
used in conjunction with nickel strings, and therefore sounded poor with
bronze-wound), a Bartolini 3AV pickup was added to the top. Kurt was interested
in the pickup because of it's usage by Peter Buck (21)(29)(32).
Although the standard procedure for "Unplugged" is for acoustics
to run direct, Kurt insisted on putting his Martin through his Fender Twin
Reverb amp. To keep the amp as clean as possible, the 7025 power tubes
were replaced with 12AX7's and the 12AT7 phase inverter was replaced with
a 12AU7. Alex Coletti ("Unplugged" producer) made a box out in
front of the amp to make it look like a monitor (32).
Along with the Twin Reverb, it appears as if a DS-2 distortion pedal
and an E-H Small Clone Chorus stomp box were also used (seen 21).
Kurt also used Finger-ease on the fretboard of the Martin to smooth
out the solo to "About A Girl." "You know that goofy-ass
stuff? It's like anal gel" said Kurt, who knew to use the roll-on
as opposed to the spray. He said that he had never used fretboard lubricant
before but that his "country and western aunt" used to (32).
(For LOTS more cool non-technical/instrumental stuff on "Unplugged,"
see "Guitar World/Archives"-- source 32).
1). Picks: Kurt has been seen using (orange) Dunlop .50mm's (seen 15)(10).
Still used during the In Utero tour- sent straight form the factory with
no logo (40).
2). Strings: Heavy-bottom Boomers (.010's-.052's) during the In Utero
tour (40). Also Dean Markley .010-.052's (the red pack)(41).
3). Ernie Ball straps, in solid black or solid white. A Fender strap
has also been seen (seen 15).
4). Kurt claimed to use a Radio Shack burglar alarm (9) and Radio Shack
speakers (22). Its sounds like he's kidding, but you never know. He also
claimed to use strings made of piano wire, shipped in long boxes, as he
couldn't find guitar wire thick enough for his taste (9). I seriously doubt
this one. I also read somewhere, though I can't remember where, that he
would use whatever strings he could find.
5). Arion Stage Tuner, used on the "Bleach" tour. It was made
of black plastic (with white stripe) and broke on tour (41)(seen pg. 146
of (25)).
NIRVANA was offered a Gibson endorsement, but Kurt couldn't find a Gibson
he liked (22).
X. A Note on Guitar Destruction
An often unnoted aspect of NIRVANA's equipment destruction was that
Kurt often switched to a (presumably) expendable guitar for the last song,
then trashed it. It would be wrong to think he didn't like certain guitars.
"On tour, they'd find cheap guitars at pawnshops - sometimes fans
would give them a guitar or in a pinch Jonathan Poneman (from SubPop records)
would FedEx one out to them and string them left-handed and smash them
that night" (25).
Ralph Smith has seen Courtney Love of Hole switch guitars for the encore
(she only played one guitar up until that point), then stage-dive with
the "encore" guitar.
Nothing important needed replacing on the In Utero tour. Kurt didn't break the important stuff (40)!
This is a section of things I'm NOT sure on that I think others out
there can help with.
First time this section has ever been empty...
Again, I appreciate all e-mail and information. You guys have been very
supportive! Special thanks goes to the following for their especially helpful
information:
Ralph Smith ([email protected]) for starting the page originally and also for the background tile.
Jim Vincent Jack Endino Chris Gill of "Guitar World" magazine
Chris Lawrence ([email protected])
Peter Horgan ([email protected])
Pete ([email protected])
Chris ([email protected])
Thanks to the following for sending me pictures:
Josh Pannepacker ([email protected])
Sven ([email protected])
Matt Hall ([email protected])
Curt, of "Gallons of Rubbing Alcohol Flow Through the Strip"
(http://www.proaxis.com/~elcurte/) ([email protected])
Layla, of "Mexican Seafood" (http://www.walrus.com/~dreamlog/nirvana/)
([email protected])
and last, but certainly not least,
Tim Lynch ([email protected]) who sent me many great pics!
Mr. Smith thanks the following for their input into his original web
page:
Joe Hartley, Mark Saucier, The Rev. Justin A. Redd, and John Dee.
1). Still photographs: Roseland new music seminar performance in NYC,
7/24/93.
2). The infamous Trees Club show video footage shot in Dallas, Texas on
10/19/91.
3). MTV Studios performance of "Smells Like Teen Spirit," "Polly,"
and "Territorial Pissings" taped in New York, NY 1990.
4). Guitar World Online, soundcheck. Web address is:
http://www.guitarworld.com/jan96/soundcheck/scfeature1/sft.page1.html
5). Saturday Night Live rehearsal footage. 1993 NBC.
6). "Guitar World" magazine. May 1996.
7). MTV's New Year's "Live and Loud" concert footage at Pier
47 in Seattle, WA, 12/17/93 shown 12/31/93.
8). "In Utero," album, 1993 DGC.
9). "Musician" magazine interview. January 1992.
10). My and Mr. Smith's discussions through e-mail with various people.
11). My (Brian's) phone conversation with Fender, 8/19/96.
12). Clay Guitars Web Page. Web address is:
http://www.geocities.com/Hollywood/1375/fender.html
13). "Hollywood Rock" festival concert footage. Rio de Janeiro,
Brazil, 1993.
14). Concert footage; said to be Trenton, NJ, 1991.
15). Various photographs.
16). "Live! Tonight! Sold Out!" video. Geffen Home Video, 1994.
17). Saturday Night Live performance, 1993.
18). "Fender Frontline" magazine. Fall 1994 (Vol.14).
19). Still photographs: "Nirvana" (Suzi Black, Omnibus Press)
1992.
20). "Guitar Player" magazine interview. February 1992.
21). "MTV Unplugged" concert video. Fall 1993. Soundtrack released
as "MTV Unplugged in New York" (DGC, DGCD-24727) 1994.
22). "Guitar World presents Alternative Guitar" magazine interview.
Spring 1994. Ralph Smith feels the interview seems to date from the period
right around when "Nevermind" was released.
23). "Doll Parts" music video by Hole. (DGC) 1994.
24). "Guitar Shop" magazine 1994. A review of the 11/15/93 show
at the NY Coliseum, NYC.
25). Book: "Come As You Are: The Story of Nirvana" by Michael
Azerrad (Doubleday). October 1993. Either a picture or in the text.
26). "In Utero" sheet music book (Hal-Leonard pub.) 1994.
27). "What's the Frequency, Kenneth?" by R.E.M. (Warner Bros.)
1994.
28). Book: "Ferrington Guitars, Featuring the Custom-made Guitars
of Master Luthier Danny Ferrington" (HarperCollins and Callaway Editions)
1992.
29). "Vintage Gallery: Collectable Guitars & Amps" magazine.
October 1994, p. 47.
30). Mr. Smith's telephone conversation with Fender, 11/4/94.
31). "Heart-Shaped Box" music video. (DGC) 1993.
32). "Guitar World" magazine (and possibly also a later issue
for the item mentioned in parenthesis under the "Recording of 'Nevermind'").
March 1995.
33). "Nevermind," album. (DGC) 1991.
34). "Bleach," album. (SubPop) 1989.
35). "Guitar Shop" magazine. August 1996.
36). "Sliver" music video. (DGC & SubPop?) Year?
37). "From the Muddy Banks of the Wishkah," album. (DGC) 1996.
Photos from insert and cover.
38). "Guitar World" magazine. October 1996.
39). "Circus" magazine. December 17, 1996.
40). My (Brian's) phone conversation with Jim Vincent, NIRVANA's tour tech
from later 1993 through all of 1994. 1/28/97.
41). Chris Lawrence's Equipment Tutorial which contains information from
Earnie Bailey, Kurt's main guitar technician. Web address is: http://www.geocities.com/SunsetStrip/Towers/5890/kurtseq.html
42). "In Bloom" music video (DGC). Year?
43). "In Bloom" music video (SubPop). Year? Preceded DGC's video.
44). "Incesticide" album. DGC, SubPop 1992.
45) L.A. Recycler. Web address is: http://www.recycler.com
46) "Lithium" music video (DGC). Year?
47) MTV Video Music Award show, 1992.
48) Reading Festival. London, England. 8/92.
49). "Come As You Are" music video (DGC). Year?
50). Saturday Night Live live performance, 1993.
51). "NIRVANA and the Sound of Seattle," book (more info?).
52). New Year's Eve, 1993, live performance in Oakland, CA.
53). "Goldmine" magazine/newspaper. 2/14/97, Vol 23, No 4, Issue
432. Pg. 16.
54). Jack Endino's web page http://www.nwlink.com/~endino/