{"id":39679,"date":"2006-03-16T00:00:00","date_gmt":"2006-03-16T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/singles\/"},"modified":"2006-03-16T00:00:00","modified_gmt":"2006-03-16T00:00:00","slug":"singles","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/singles\/","title":{"rendered":"Singles"},"content":{"rendered":"

<\/p>\n

The ’90s were defined by grunge. And if the whole
\nSeattle music scene has to be condensed into a package, then the
\nsoundtrack for the movie Singles<\/i> is just the right CD,
\nbecause it is the ultimate grunge album, a comprehensive lesson in
\ngrunge for those who have never explored this music before, as well
\nas for those who live and breathe it.<\/p>\n

The lineup of this record, monstrously grunge and
\nproudly Seattle, speaks for itself: Pearl Jam, Alice In Chains,
\nChris Cornell\/Soundgarden, Mother Love Bone, Jimi Hendrix,
\nMudhoney, The Lovemongers, and Screaming Trees, with contribution
\nfrom a couple of non-Seattle indie-superstars of the early grunge
\nera, Smashing Pumpkins and Paul Westerberg.<\/p>\n

But, there’s more to this soundtrack than just its
\ntitanic lineup. This compilation finds most of the aforementioned
\ngrunge celebrities in their pre-stardom days. Cuts like “Breath”
\nand “State Of Love And Trust” by Pearl Jam, “Seasons” by Chris
\nCornell and “Birth Ritual” by Soundgarden, and “Drown” by Smashing
\nPumpkins showcase the raw talent in these acts during the years
\nwhen they still hadn’t made it big. These tracks show the roots of
\nthese gigantic bands.<\/p>\n

The Singles<\/i> soundtrack was part of a period
\nwhere rock music was being discovered by a completely new
\ngeneration of listeners whose first-ever exposure to this kind of
\nmusic was either Pearl Jam or Nirvana, and introduces the genesis
\nof modern rock music to these new rock converts. First, it has a
\ntrack by Mother Love Bone, the band that evolved into Pearl Jam
\nafter singer Andrew Wood died. This is followed by a cover of Led
\nZeppelin’s “The Battle Of Evermore,” by The Lovemongers, a
\npseudonym for the band Heart.<\/p>\n

The most valuable lesson for fledgling rock
\nenthusiasts — for whom Seattle became the newfound capital of
\nmodern rock — is a Hendrix number (“May This Be Love”), which
\nshows that the foundation for Seattle’s prolific rock music scene
\nwas laid not in the ’90s, but three decades prior.<\/p>\n

Though Singles<\/i> seems a perfect grunge record
\nin every sense, there are two things that make it short of an
\nall-star “dream” album for every grunge fan: Neil Young and
\nNirvana, the two names synonymous with grunge. For an album that is
\nalmost an audio bible for grunge, the absence — for whatever
\nreason — of Neil Young, the godfather of grunge, and Nirvana, the
\nband that turned grunge from an obscure offshoot of rock to its
\nmost loved and most popular avatar, does leave a bit of room for
\ndiscontent.<\/p>\n

Singles<\/i> is one of those soundtracks that makes the movie
\nsecondary to it, instead of the other way around. Ask anyone who
\nowns this record if they have seen the movie or even know about it,
\nand the positive answers — with no offense to the movie — would
\nonly come sparingly. This album is way too important to be a
\nsupporting soundtrack for a romantic comedy flick; it chronicles
\ngrunge history, after all. It is one the best accounts of why
\nSeattle is popular not just for its coffee and computers.<\/p>\n

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