Sometimes when you’ve got music in the background while working, you note recommendations appear and, the other day, a 1982 album by Kim Carnes showed up: Voyeur.
For those unfamiliar with the name, Kim Carnes is probably most famous for this song, which was pretty damn popular in its day:
When I saw the recommended album, I figured it must be the one that had Bette Davis Eyes on it. I was wrong, but as it turned out, I was familiar with at least two of the songs on the album.
I can honestly say I haven’t heard either of those songs in a very long time, likely in/around the time they were originally released nearly (gulp) forty years ago.
The first was the song the album was named after, Voyeur…
Man, do I love the song… a beautiful distillation of 80’s synth new wave…!
But, man (redux), pretty depressing video concept, no? Abusive boyfriend, an implied murdered woman (with Kim Carnes herself being the next victim?)… huh. I wonder if the downbeat nature of this video might have harmed the song in the long run. Who knows.
The second song I recognized was Looker, though the version I was more familiar with I’ll get to in a moment:
The original version of the song was by Sue Saad and was the theme of the film of the same name, the Michael Crichton written/directed Looker (the video below shows sequences from that movie, in case you’re wondering. The film was about supermodels who are being killed for… reasons. The film didn’t make a whole lot of sense, even if some of the women presented were quite gorgeous!)…
Weird that the film would be released with the song in 1981 and then Kim Carnes would do her version only a year later in Voyeur!
Finally, there was an extended version of the song Voyeur. It runs nearly two minutes longer than the original version of the song…
This has been your 1980’s synth/new wave flashback for the day!
As Iāve noted many times before, Iām a big fan of David Bowieās work. In fact, I consider him the all time best āsoloā musical artist there ever was, though obviously he worked with many very talented musicians in his career.
I also have noted I like lists, though part of the fun reading them is finding where you disagree with them.
In the case of this list, there are albums ranked low I feel should be much higher. There are some ranked higher than I would have ranked them. Again, thatās part of the fun.
To begin, though, I have little argument with what they consider the āworstā of Bowieās albums, 1999ās Hours, which is placed at #27. Many people, including David Bowie himself, felt his 1987 album Never Let Me Down (on this list at #24) is his worst and, frankly, I canāt argue with that either.
Hoursā problem is that the album is mellow -not a crime in and of itself- to the point of being dull, though it does have -like pretty much all Bowie albums- some damn good compositions.
Iām scratching my head a little at the second worst album, 2003ās Reality. While I agree with much of what they say about it -it feels like a middle of the road Bowie album- I feel like its better than second worst. In fact, Iād put the already mentioned Never Let Me Down, Black Tie White Noise (1993 and #22 on this list) or David Bowie ( His āfirstā full album released in 1967 and found one spot up at #25) lower than Reality. Frankly, I might also place Space Oddity (1969 and #16 on the list) below that album as well, though it does include the absolutely smashing first big hit Bowie created. Unfortunately, the rest of the album isnāt as good, though there are a couple of songs worth checking out nonetheless.
For me, too, having the 1997 album Earthling come in at the very low #23 also feels a little rough. While not my all time favorite Bowie album, it nonetheless had some really good songs on it like Dead Man Walking and, of course, Iām Afraid of Americans. The fifth least of Bowieās albums? Nah, I donāt think so.
Similarly, one of my favorite later Bowie works, 1. Outside, is placed in #18, below #17th Heathen (2002). 1. Outside, IMHO, should be further up. Heathen had some really good songs, including the remake of Conversation Piece (though it wasnāt included on the album but was a part of the bonus CD issued upon its release) but for whatever reason that album didnāt do all that much for me.
Scary Monsters (and Super Creeps) (1980) is given the number 10 spot, behind some damn good albums but also some headscratchers. I love Lodger (1979 and #9 on the list) and Letās Dance (1983 and #8 on the list), which was my entry album to the genius that is David Bowie, but I consider Scary Monsters nonetheless a better overall album than those two, if not by all that much.
Iām fascinated they included both Tin Machine (1989 and #13 on the list) and Tin Machine II (1991 and #20 on the list) but have to scratch my head by the exclusion of The Buddha Of Suburbia (1993). While that album was a āsoundtrackā album not unlike some other albums excluded which featured David Bowie songs, including Labyrinth, Cat People, The Falcon and the Snowman, and Absolute Beginners, the difference between that album and the others is that while they had one or two songs by David Bowie, The Buddha of Suburbia is a full/complete David Bowie album and included original compositions not on the BBC show the soundtrack was made for. It also has the original version of Strangers When We Meet, which was re-done and included on the terrific 1. Outside.
If you really love Bowie, though, the bottom line is that youāre going to have issues with this placement or that placement of the albums but, ultimately, its all about oneās taste.
I think just about the only thing most David Bowie fans can agree upon is which of his albums belong at the prestigious #1 spot on this or any such list: 1972ās The Rise and Fall of Ziggy Stardust and the Spiders of Mars.
This was unquestionably Bowieās masterpiece and the album which brought him his first major commercial and cultural -as in bringing āglitter rockā to the forefront- success.
Anyway, check out the list. If youāre a more casual David Bowie fan, you may find some albums there worth checking out!
Back in the 1980’s, one of my favorite bands was The Psychedelic Furs. Their music was post-punk/new wave but they seemed to steer a course uniquely their own, with hits including Pretty In Pink, the song which became the basis/title to a John Hughes directed film…
Here’s one of their biggest hits and one of my favorites, Love My Way (love the drumming toward the end of the song!)…
And here’s the absolutely haunting and lovely The Ghost In You…
The group seemed to build steam, becoming better and better and more popular with each new album. Then came their 1987 album Midnight To Midnight, which I personally loved but which others seemed to feel was a big drop in quality for the Furs, as well as embarrassing for the images they used (specifically, all that flashy leather) on their album cover and interiors…
While I loved the album, their subsequent follow up albums, 1989’s Book of Days and 1991’s World Outside, also in my estimation pretty damn good works, seemed to show interest in the Furs and their music was in decline among the general public. Neither album -at least that I can remember- made much of a splash and after the World Outside release, it seemed the Furs were done.
Lead singer/writer Richard Butler would go on to release two albums under the Love Spit Love moniker and, again, I liked them but yet again they didn’t seem to make many waves with the public.
The Psychedelic Furs, however, reformed and continued touring and, while doing so, Richard Butler and company decided they didn’t want to simply keep repeating/singing the old standards. They developed an itch to create a new album with new songs.
So an astonishing twenty nine years after the release of their last album, The Psychedelic Furs last week released their brand new album Made of Rain.
Frankly, I was both astonished and pleased with the new material.
This is a strong album which is very much filled with the Furs’ best type of songs: At times morose, mysterious, and heart-felt.
One song in particular just blows my socks off, No-One…
Just… wow.
While I feel that song is the highlight of the album, there are plenty of other great tunes to dig into, including The Boy That Invented Rock and Roll and Don’t Believe.
The album sounds like it could have been released in/around the time the other wonderful Furs albums were released. Yeah, I guess you could take that as a backhanded compliment: Jeeze, have they progressed any in all these years?
It isn’t a backhanded compliment, though. When picking up a Furs album, one expects a certain sound and tone and this album has it in spades.
A critic noted this album was like David Bowie’s Blackstar, a magnificent new work which neatly fits into and compliments the others.
While I hope this isn’t the last we hear of new Psychedelic Furs works, it shows that when Butler and company got together and decided to do something new, they didn’t just rest on their laurels. They came back with a beautiful, wonderful new work which proudly sits among their best.
Highly recommended, especially for Furs fans like myself!
Released to digital/streaming services on April 17th, ChangesNowBowie is the latest David Bowie project released since his passing (gulp) four years ago.
I swear, I had to look that up and double check to be sure, but, yeah, David Bowie passed away on January 10, 2016. It’s been a little over four years since his passing!
Anyway, genius.com offers the following list of the songs and a little behind the scenes information on what this album is:
Repeating a little of what was at that website, ChangesNowBowie features essentially acoustic versions of several of Mr. Bowie’s songs. They were recorded as David Bowie was practicing for the big 50th Birthday Bash party he hosted back in 1996.
The songs aren’t bad at all yet I would add that neither was I necessarily totally blown away by these more mellow interpretations. The songs chosen are mostly songs that are more obscure to those who are only casually familiar with Mr. Bowie’s discography. Perhaps the most famous/well known songs are The Man Who Sold The World and Lady Stardust. What makes this album most interesting is hearing him go through some of these more obscure songs.
In fact, I’d say the later half of the album, starting with Lady Stardust (one of my favorite Ziggy Stardust tracks) through The Supermen (a song that works incredibly well as acoustically, from the album The Man Who Sold The World) through Repetition (a Lodger track I’ve always liked) through Andy Warhol and Quicksand (both found on Hunky Dory) are the highlights of the album.
On the other hand, the album starts with The Man Who Sold The World (its ok, didn’t really blow me away) goes to Aladdin Sane (this track works better frantic rather than the more laid back acoustic version, IMHO) to White Light/White Heat (a Velvet Underground song Bowie really enjoyed covering in concert, especially during his Ziggy Stardust era) and finally goes to Shopping For Girls (from Tin Machine II) which, also to me, sounded better in the original version.
Still, a nice enough album worth checking out if you’re a fan of David Bowie.
Anyway, see if you agree with me on at least one of the songs, the pretty obscure Tin Machine II entry Shopping for Girls. Here’s the original version…
And this is the more mellow/acoustic version found on ChangesNowBowie…
It’s not bad, as I said above, but it didn’t necessarily prove a significant counter to the original.
We come to Valentine’s Day, a Friday, and supposedly the last of the songs that will be featured on the upcoming David Bowie EP Is It Any Wonder?, due to be released on the 20th.
I say “supposedly” because looking around here and there, it appears there will be one more song added to this EP, Fun (Clownboy Mix) and I have no clue what that one is but when you search around the Is It Any Wonder? information, it is listed as a seventh track. Perhaps a “hidden” track to be featured on the album itself and not part of the one-song-a-week release schedule?
I dunno.
Anyway, the “new” song released this week, alas, isn’t really new. That is, if you’ve been a devout David Bowie fan (or a maniac like me) and have picked up his stuff pretty religiously as it was being released. The 6th song in this song-a-week release schedule is The Man Who Sold The World (Eno “Live” Mix) (2020 Remaster).
A bit of history, at least as best as I can remember: When Nirvana did their cover of The Man Who Sold The World on MTV, it was a BIG hit. David Bowie found himself getting love for a song that was in his very distant past, and he would start using it more frequently in his shows. Why not? People loved it and wanted to hear him sing it!
At around that time he did the magnificent album 1. Outside, which I’ve said many times before I consider David Bowie’s best later-year album. However, the album wasn’t met with much love from critics or many fans. They thought it was too much, too dense. Hard to get into.
Whatever.
As it turned out, the years were kind to the album and many now look at it as a damn good work.
One of the album’s better songs was Strangers When We Meet, a reworking of the same song which was released on Bowie’s Buddha of Suburbia, the album that came just before 1. Outside and was one of David Bowie’s least known (and I suppose selling) albums. So it made sense to Mr. Bowie, I suppose, to take that song and rework it and add it to 1. Outside in the hopes of people giving it another chance.
Here is the 1. Outside version of Strangers When We Meet:
What the hell does all that have to do with our last (or is it second to last?) Is It Any Wonder? song?
Following the release of 1. Outside, Mr. Bowie would release a “single” version of Strangers When We Meet on CD and it included not only that song, but a reworking of The Man Who Sold The World, which is pretty significantly different in many ways from the original version (and in some ways very similar), the original Buddha of Suburbia version of Strangers When We Meet, and the 1. Outside outtake Get Real.
I believe that reworked version of The Man Who Sold The World, until now, was only available on that EP CD. Welp, its been remastered and is now part of the Is It Any Wonder? EP and here it is…
I have to say, I like the song quite a bit versus some of the other remade songs which are present on the Is It Any Wonder? EP.
But…
I don’t think its quite as good as the original version.
Then again, the original version is so ingrained in my mind its hard to consider an alternate version, at least for me!
Still, overall I nonetheless like this version of The Man Who Sold The World and am glad we’re now getting it as part of the Is It Any Wonder? EP.
Having said that, what do I think of the EP overall?
I dunno. I still haven’t heard that last song so maybe I should withhold judgment.
If I were to focus on these six songs, though, my feelings are this EP is only “ok” at best. There’s some good stuff here but the remakes of older songs, particularly I Can’t Read, Stay, and Baby Universal, I felt were pretty much all weaker than the original version, with Baby Universal the only one of the lot that approached the positive feelings I have of the original and which engenders similar feelings in me to this version of The Man Who Sold The World.
I’ll likely get the EP when it does come out, so there’s that, but I do feel like there must be other stuff in the vaults worth bringing to light, especially during the 1970’s (ie his Ziggy Stardust, Plastic Soul, and Berlin years).
Perhaps this is the first of many such EPs to come!
We’ve reached the penultimate song, #5, of the weekly release of songs for the upcoming Is It Any Wonder? EP.
In previous weeks we’ve had The Man Who Sold The World, I Can’t Read ’97, Stay ’97, and Baby Universal ’97. The reason the later three songs feature the ’97 on them is because they are remakes of earlier works which David Bowie did in… wait for it… 1997 and while making the album Earthling.
Yesterday, and as mentioned above, we had the release of the fifth of six songs to be released in the Is It Any Wonder? EP. Here then is an original composition intended to be a “bonus track” on the Earthling album but ultimately set aside. The song is called Nuts…
When I first heard the song, what immediately struck me was that it sounded a hell of a lot like something you might find on 1. Outside, the album Bowie released just before Earthling. I’ve said it before and I’ll repeat it here: I feel 1. Outside is the best album Bowie released in his later years. Having said that. the jazzy elements within this song also reminded me of some of the more experimental stuff on Bowie’s final album, Blackstar.
I must admit, I didn’t like the song much when I first heard it. However, upon listening to it a few more times, I’ve found myself getting into it. I still don’t feel it is a “classic” or some incredible lost treasure like the alternate version of Candidate from the Diamond Dogs album…
…but I do like the song more and more.
(Btw, for the life of me, I still don’t understand how David Bowie left this “alternate version” of Candidate, a stone cold classic -IMHO!- off the album. It wasn’t until some fifteen or so years later with the RykoDisc releases of Bowie’s albums that the song finally saw the light of day as a “bonus” track!)
So I’m glad Nuts was released.
One more song (and week!) to go and the album is complete. Will they end it with a bang or a whimper?
We’re up to week four of the song a week release for the upcoming David Bowie EP Is It Any Wonder?
I mistakenly thought originally that the EP would feature rehearsals from David Bowie’s 50th Birthday party -understandable to some extent as the first song released, The Man Who Sold The World, was from that rehearsal- but have since realized that the songs being released were mostly songs made during the Earthling album sessions but never formally released until now.
Originally released in 1997, Earthling is a damn good David Bowie album, one I feel is up there with the best he released in his later years though I still feel the one that came right before it, 1. Outside, is the best of the lot.
Thing about Earthling is that it is a heavy electronica/dance album and, I suspect, some David Bowie fans might have been turned off by him once again making a sudden shift to a different style of music. I think the album is energetic and mostly works but, I have to admit, the electronica does feel, to me anyway, somewhat repetitious after a while.
Still, I stand by what I say: Earthling is one of Bowie’s best later day albums.
The reason both I Can’t Read and Stay are identified with the ’97 year is because they are both studio/session remakes of previous Bowie songs. I Can’t Read was originally presented on the first Tin Machine Album while Stay was originally released on the Station To Station album. The Man Who Sold The World, because it is part of the rehearsal is instead listed as the ChangesNowBowie version, which is the album that will feature a plethora of Bowie rehearsals for his 50th Birthday Party.
Anyway, the fourth song of this upcoming EP has been released and it is Baby Universal ’97. This song is another cover/interpretation of a Tin Machine song, this one from Tin Machine 2.
Instead of presenting that song right away, let me first present to you the original version of the song as it was originally released on Tin Machine 2:
While I very much enjoyed the first Tin Machine album, the second album feels like a hit and miss affair. David Bowie wasn’t one to linger long in any style or song type pattern, very much earning his chameleon nickname, and if something was very popular and worked or didn’t at all, his instincts always seemed to be to move ahead and do something new.
Tin Machine 2, thus, to my ears sounded like half a good album. There were songs on it, like the above, which I thought were freaking fantastic, while there were others that felt like they were thrown in because… why not. Tin Machine was never a popular musical experiment for David Bowie and it wasn’t surprising that after the release of the second album the band was done and Bowie returned to making “David Bowie” albums.
But, as I said, there were some damn good songs on the album and I very much liked Baby Universal. It is energetic, it moves, and it rocks.
When the Earthling sessions came about, clearly Mr. Bowie was looking back at Tin Machine and perhaps thinking about what went wrong (if indeed he felt that way) and that might be why he did such a different version of I Can’t Read from the first Tin Machine album. I didn’t like the new take all that much but, as I said in the review of the new version of the song, I didn’t like the original all that much either.
Having said all that, here’s the next release from Is It Any Wonder?, Baby Universal ’97:
I like this new version of the song well enough but, just as with I Can’t Read ’97, I feel the original version is the better of the two.
The original simply has more energy to it and I love the “Baby” chorus Bowie provides in the background.
I suppose what this shows is that even when making works which were panned by critics and many fans, David Bowie was still creating some good stuff. Yeah, Tin Machine 2 may be a lesser album overall, but I’ll be damned if Baby Universal isn’t one hell of a rocking song.
If the remake release gets people to look back at Tin Machine 2 and, perhaps, finally release a digital copy of it (believe it or not, the only way to buy the album now is by the CD or old tapes/vinyl), then perhaps this exercise will have been worth it.
As I’ve pointed out before (here and here) the estate of the late David Bowie is releasing two “new” albums this year. The first is a six track EP called Is It Any Wonder? and I mistakenly thought it would feature “new” versions of older songs made in rehearsal for David Bowie’s 50 Birthday Party Concert.
The first song on the EP is indeed from that rehearsal and is The Man Who Sold The World (check the links above in the first paragraph). The intention by Mr. Bowie’s estate is to release one new song from that EP every week until all six are released, then release the EP itself. Later in the year we’ll also see the release of ChangesNowBowie which, if I understand correctly (now anyway) will actually feature a bunch of rehearsal songs including The Man Who Sold The World.
The second song in the weekly releases is a reworking of Tin Machine’s I Can’t Read. Tin Machine, for those who aren’t aware, was a David Bowie side project that featured two full albums and at least one official live album release before Mr. Bowie returned to being a “solo” act.
Now, a third song from the EP has been released, a very ’90’s version of the song Stay, originally featured on David Bowie’s fabulous Station To Station album. Here’s the new, 1997 version of that song:
Hmmmm….
I have to say, and it pains me to do so because I’m such a big David Bowie fan, but so far these new releases aren’t doing all that much for me.
The Man Who Sold The World was a solid version of the song but, frankly, a decently done version but nothing all that much more. I Can’t Read, on the other hand was a much more reworked version of that song, but as I said in my original post (again, the links are in the first paragraph), I preferred the original Tin Machine version. Having said that, while there are several Tin Machine songs I love, this wasn’t one of them. It’s OK, mind you, but I don’t believe it was ever one of Mr. Bowie’s strongest compositions.
This version of Stay is… jeeze. I dunno. I mean, they took the skeleton of the original song, presented below…
…and added a whole bunch of other (for lack of a better term) stuff to it to, I suppose, fit in more with the then in vogue more grunge sound that was popular.
They didn’t kill the song, but I feel like a lot, perhaps even most of the flourishes, are unnecessary and detract rather than enhance the song.
In this case, unlike I Can’t Read, I’m a HUGE fan of the original song and album. I feel Station to Station is one of David Bowie’s absolute masterpieces and, sometimes, its hard to listen to a “new” version which tries to add more bells and whistles -so to speak- to something that one views as already damn near perfect.
So far, with three songs -half the EP- released, I sadly have to say I’m not loving these new/unreleased songs but, being a big David Bowie fan, will nonetheless check out the other three songs to come.
Maybe they’ll be better but at least so far this EP is sounding like a curiosity but nothing that’s blowing my socks off.
Starting with David Bowie’s birthday on January 8th and continuing each week will be the release of one new song from an upcoming David Bowie album entitled Is It Any Wonder?
The song recordings were made in rehearsal for David Bowie’s 50th Birthday party, which was a star studded event and last week the first song from that rehearsal, The Man Who Sold The World, was released (if you’re curious to hear it, here you go!).
Three days ago (yeah, I’m running late here!) the second song was released, a stripped down version of I Can’t Read, a song that originally appeared on the first Tin Machine album, David Bowie’s band side project that lasted two original albums and at least one live album before folding.
Here’s the new, 1997 recorded stripped down version of the song:
I have to say… I’m not all that into it.
Then again, I didn’t think the original version was all that great either. Having said that, I prefer the original to this version. Here is the original version:
I suppose David Bowie thought he might eventually release that new version of the song and video but subsequently decided not to. It is pretty elaborate for something that was locked away in the vaults until now!
Having said that, there’s something incredibly sad about watching this video.
I know David Bowie eventually passed away because of liver cancer, but seeing him sucking on the cigarette in that video… ugh.
My understanding is that David Bowie was a pretty heavy smoker and based on videos like this one he clearly felt it looked cool to smoke in front of the cameras. He wasn’t alone: You can’t find many films from the 1930’s through the 1970’s (and some past that point) which don’t feature the leads smoking. It was a glamorous thing to do on screen but now we know better, right?
Sorry if I’m sounding all high and mighty/moralistic, but I have a very strong allergy to cigarette smoke. There’s something in the chemicals in cigarettes -as opposed to cigars or tobacco used in pipes- that sets my sinus off and can often result in me having such bad headaches I wind up needing to lie down and/or throw up.
It’s that bad and can happen if I so much as sniff one second of cigarette smoke!
But getting back to Mr. Bowie, while liver cancer eventually took him away, he also had a heart attack and, based on some things I’ve read about his last days, also suffered from considerable shortness of breath. Did the cigarettes play a role in these problems?
I don’t know.
Given how much I love his work, though, it makes me so sad to read about what must have been very painful days leading to his eventual passing.
Don’t smoke, kids.
It may look cool, but all you’re doing is roasting your throat and lungs.
In the long run, there’s a damn good chance you’ll pay.
The news is a couple of days old but I should have been expecting it.
David Bowie had a thing for celebrating his birthday, January 8th, with the release of new material. Indeed, his very last album, Blackstar, was released on January 8th of 2016 and, sadly, Mr. Bowie himself passed away two days later on January 10th at the age of 69.
This past January 8th would have been Mr. Bowie’s 73rd birthday and it was announced that two “new” albums would be released featuring live material he made while rehearsing for his famous 50th birthday bash, where he had a concert filled to the brim with guest star artists (Lou Reed, Billy Corgan, David Grohl, Robert Smith, etc.) singing along to many of his biggest hits.
Frankly, I’d love to have that album but, for now, what we get -eventually- is an intriguing release featuring rehearsals for that very show. The songs will be released one each week and two albums will contain the music and be released a little later this year. Over at pitchfork.com you can read up on the details:
For now, the first release is what I consider one of his all time best songs ever. In fact, I’d probably rank it as my own personal favorite David Bowie song (though there are plenty of strong contenders!).
Here then, is the first release from that upcoming album, the rehearsal of The Man Who Sold The World…
Perhaps I said it before but I’ll say it again: For me, the David Bowie gateway opened with the release of the album Let’s Dance back in 1983. I went absolutely wild for that album and played it over and over again back in high school and whenever I drove around (much to the eventual annoyance of the people who accompanied me on those drives).
Back then there wasn’t an internet and you couldn’t google “David Bowie” and have at your fingertips all his albums to listen to. Being curious about his previous releases, I headed out to record stores (yeah, they used to exist back then!) and slowly began to acquaint myself with his previous albums/songs.
I was surprised to find I was familiar with many of them, including Changes, Space Oddity, and Lady Stardust (to this day I don’t know why that particular song stood out to me, but when I heard it after buying the Ziggy Stardust album, it was the song I knew I had heard before and was familiar with while the rest of the songs were “new” to me).
One day I found a cassette of The Man Who Sold The World (I’ll refer to it as TMWSTW from here on), Bowie’s 1970 album which, to my mind, is the first “real” David Bowie album. Note he did release a number of singles, including his groundbreaking Space Oddity (single and album) before that album, but with TMWSTW, it seemed David Bowie truly found himself as an artist and following that album came Hunky Dory and Ziggy Stardust and the legend only grew from that moment on.
Returning to TMWSTW, I loved that album to death and, in particular, the song the album was named after. So much so that I even named a character I co-created with a friend after my mishearing of a line in the song (the character has never been used formally and may never be, so I’ll keep that little tidbit to myself!).
Regardless, when Nirvana famously covered the song years later and it suddenly blew up and became famous, I was nodding my head and smiling.
Not to sound like a smart ass or anything, but the world had finally caught up to how great that song was…!
And here it is in its original album version:
And, what the heck, here’s Nirvana’s version, which really brought it to audiences!
