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Singles, Original Motion Picture Soundtrack

When the movie was released, Nevermind had already surpassed Dangerous by M. Jackson at the top of the American charts: it was the summer of 1992, and it was clear that it would become the album of the year. Other works like Ten, Temple Of The Dog, and Dirt were capturing all audiences.

The portrait of the alternative scene in Seattle, which journalists already loved to call Grunge, was much more tangible than it was in Crowe's film. What was shown to the public as the curious backdrop for charming love vignettes was a reality that was rapidly consolidating: many of the artists present on the soundtrack boasted high-charting albums and a rapidly growing popularity. The importance of Singles lies in having provided the entire globe with the portrait of Grunge-era Seattle, an imaginary city depicted in all its best aspects: the celebration happens through the dazzling images of cafes and venues of all kinds crowded with young people soaked in rock music. Singles experienced a significant spread due to the success achieved by its eponymous soundtrack: despite the absence of Nirvana, who were the most famous at the time, all the principal names of the city are present.

The record released on June 30, 1992, sees Paul Westenberg as the main curator of the entire project. The leader of the Replacements participates in the collection with the songs Dyslexic Heart and Waiting For Somebody, which are used during the film's introduction and the end credits: these are two catchy tracks but have nothing to do with Grunge.

The single chosen as a lead is Would? by Alice In Chains, also present on Dirt: the track had the power to propel both albums to the top of the American charts. The dark artistic soul of guitarist Jerry Cantrell emerges: the oriental-sounding riff of the verse accompanies a mournful singing, a clear plea for mercy towards the master mentioned in the lyrics. The power explodes in the refrain, Layne Staley's voice bursts with aggressive fury: the sound is dark, the distortions neurotic. The theme of the piece is linked to heroin, the master that emerges from the very first notes; in the end, there is a doubt that there may be no way out: "Am I wrong? Have I run too far to get home?".

The Pearl Jam, in addition to appearing in the movie, are present with two unreleased compositions: Breath and State Of Love And Trust: The first dates back to old demo tapes, the second represents the junction between Ten, recently released, and the subsequent Vs. The sound is raw, accompanied by a scratchy vocality, as a strong state of confusion reigns after a love disappointment: strange voices bounce in the mind inviting to suicide...

Overblown by Mudhoney and Birth Ritual by Soundgarden best represent the first-wave Grunge impact; considered the peak of the disc's sonic hardness, they constitute the opposite of the dreamy acoustic vein of Seasons by Chris Cornell or The Battle Of Evermore reinterpreted by the Lovemongers. Seasons testifies to the expression of Cornell's singer-songwriter vein, which turns towards the acoustic plots of Physical Graffiti by Led Zeppelin. The calls of Brown-yr-our, an instrumental piece composed by Jimmi Page, can be heard.

The Lovemongers, Anne and Nancy Wilson (the latter the wife of director Crowe), demonstrate their great love for English rock by reinterpreting one of the most significant songs of Led Zeppelin IV. The Battle Of Evermore is rendered with great vocal and instrumental skill: the live recording adds an extra touch of warmth, and the harmonic interweavings derived from the Celtic tradition transport the listener to another chronological era.

Another tribute to the 60s is the inclusion of May Be This Love by Jimi Hendrix, a psychedelic country-blues piece from Are You Experienced?. The soft percussiveness of the rhythm section contrasts with the delicacy of the slide guitar introduction and the brief solo on the Japanese pentatonic scale.

The track of the greatest length is represented by a medley by the Mother Love Bone: Chloe Dancer\Crown Of Thorns from Apple, the only album of the unfortunate combo. The piano introduction is gentle and crepuscular, Andrew Wood's voice reigns, bouncing over the melody; the subsequent opening is once again a child of the Led Zeppelin, this time one of the guitars of the bridge of Stairway To Heaven timidly appears. The verve becomes more robust, the intensity increases: the transition from major to minor leads towards the conclusion, recognizing some passages that will be inherited by Ten.

The collection closes with Drown by the Smashing Pumpkins, following Nearly Lost You by the Screaming Trees. Perhaps it is the best track on the album in terms of lightheartedness, able to fully capture the carefree atmosphere of the film. During the verse, Billy Corgan's androgynous voice tickles the sweet melodic line of the guitars, followed by a continuous crescendo of rhythm and saturation. The intensity is dampened in the two breaks preceding the instrumental finale: the thrilling technical prowess of drummer Chamberlin produces the pivotal passages that lead into the Noise Rock-style ending.

The music fades out, carrying away a fantastic dreamy atmosphere.