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This article is about the Nirvana album. For the Latin medical term, see In utero.
Untitled

In Utero is the third and final studio album by the American alternative rock band Nirvana, released on September 21, 1993 through DGC Records. Following the success of the group's breakthrough second album, Nevermind (1991), Nirvana sought to avoid that album's polished production and hired recording engineer Steve Albini to produce the record. The band recorded the album with Albini in two weeks in February 1993, capturing an abrasive and naturalistic sound for the record. While some of the songs were years old, the lyrics largely dealt with frontman Kurt Cobain's reflections on his newfound fame and recent personal troubles, incorporating imagery of sickness and disease.

Soon after recording was completed, controversy erupted as news reports stated that the band's record label did not like the band's sessions with Albini and refused to release the album, deeming it uncommercial. Nirvana denied the statements but were also not fully satisfied with the sound Albini captured. The band ultimately made some minor changes to the album's sound and hired producer Scott Litt to mix the singles "Heart-Shaped Box" and "All Apologies".

Upon its release, In Utero debuted at the top of the Billboard album charts and received critical acclaim. The album has been certified five times platinum by the Recording Industry Association of America, and has sold over four million copies in the United States.

Background and recording

Nirvana broke into the musical mainstream with its major label debut, Nevermind, in 1991. Despite modest sales estimates—the band's record company, DGC Records, forecast that 50,000 copies would be sold (roughly half of Sonic Youth's DGC debut Goo)[1]—Nevermind became a huge commercial success, selling millions of copies and popularizing both the Seattle grunge movement and alternative rock in general.[2] The band's singer and guitarist Kurt Cobain wanted to start work on the band's next album in the summer of 1992. However, band members Cobain, bassist Krist Novoselic, and drummer Dave Grohl lived in different cities, and Cobain and his wife Courtney Love were expecting their first child.[3] DGC had hoped to have a new album by the band ready for a late 1992 holiday season release; with work on a new album proceeding slowly, the label released the compilation album Incesticide in December 1992.[4]

In June 1992, Kurt Cobain told journalist Everett True he was interested in recording with Jack Endino (who had produced the group's 1989 debut album Bleach) and Steve Albini (known as former frontman of the noise rock band Big Black and producer for various indie releases), and then picking the best material resulting from the sessions for the group's next album.[5] While the band had approached neither to produce the record, Nirvana recorded songs that would appear on its next album during a demo session with Endino in October 1992.[6] The band recorded another set of demos while on tour in Brazil in January 1993.[7] One of the recordings from this session, the long improvisational track "Gallons of Rubbing Alcohol Flow Through the Strip", was included as a hidden track on non-US copies of In Utero.[8]

Nirvana ultimately chose Albini to record its third album. Albini had a reputation as a principled and opinionated individual in the American independent music scene. While there was speculation that the band chose Albini to record the album due to his underground credentials, Cobain told Request magazine in 1993, "For the most part I wanted to work with him because he happened to produce two of my favorite records, which were Surfer Rosa [by the Pixies] and Pod [by the Breeders]." Inspired by those albums, Cobain wanted to utilize Albini's technique of capturing the natural ambiance of a room via the usage and placement of several microphones, something previous Nirvana producers had been averse to trying.[9] Months before the band had even approached Albini about the recording, rumors circulated that he was slated to record the next Nirvana album. Albini sent a disclaimer to the British music press refuting the allegations, only to get the call from Nirvana's management a few days later.[10] Although Albini considered Nirvana to be "R.E.M. with a fuzzbox" and "an unremarkable version of the Seattle sound", he told Nirvana biographer Michael Azerrad he accepted because he felt sorry for the band, whom he perceived to be "the same sort of people as all the small-fry bands I deal with" at the mercy of their record company.[11] Before embarking on the sessions, the band sent Albini a tape of the demos it had recorded in Brazil, while Albini sent Cobain a copy of the PJ Harvey album Rid of Me to give him an idea of what the studio where the sessions were to take place sounded like.[12]

The group traveled to Pachyderm Studio in Cannon Falls, Minnesota, in February 1993 to record the album.[13] Albini did not meet the band until the first day of recording, though he had spoken to the band members beforehand about the type of album they wanted to make. Albini observed that "they wanted to make precisely the sort of record that I'm comfortable doing."[14] The band made it clear to its record label and its management that it did not want any interference during the recording process. For most of the two-week sessions, the only people present were the band members, Albini, and assistant engineer Bob Weston.[15] During the sessions Albini instituted a strict policy of ignoring everyone except for the band in order to prevent the band's managers and label from interfering.[16]

The band recorded the tracks live and kept virtually everything they recorded. Cobain added additional guitar tracks to about half the songs, then added guitar solos, and finally vocals.[15] Albini felt he was more an engineer than a producer; despite his personal opinions, he ultimately let the band judge which were decent takes.[17] He said, "Generally speaking, [Cobain knows what he thinks is acceptable and what isn't acceptable . . . He can make concrete steps to improve things that he doesn't think are acceptable."[18] Cobain reportedly recorded all his vocal tracks in six hours.[19] The band completed recording in six days; Cobain, who anticipated some disagreements with Albini, called it "the easiest recording we've ever done, hands down".[15] Mixing was completed over the course of five days.[19] The sessions were completed on February 26,[20] in half the time as the sessions for Nevermind.[21] The total recording costs for In Utero were $24,000, and on top of that, Albini took a flat fee of $100,000. Albini refused percentage points on record sales, since he considers the practice to be immoral.[11]

Music and lyrics

The band and Albini wanted to capture a natural sound for the album, as opposed to the production on Nevermind.[18] For the most part there was no studio trickery utilized during recording; the only "special effect" Albini could recall was a vocal effect on "Milk It" and "Rape Me", "There's a really dry, really loud voice at the end of 'Milk It' [. . .] that was also done at the end of 'Rape Me,' where [Cobain] wanted the sound of him screaming to just overtake the whole band."[22] Albini refused double-tracking Cobain's vocals (which he considered a "hack production technique") and instead recorded him singing alone in a resonant room.[18] Albini achieved the album's drum sound with little electronic editing by simply placing several microphones around the room while Dave Grohl performed, picking up the natural reverberation of the room. Albini explained, "If you take a good drummer and put him in front of a drum kit that sounds good acoustically and just record it, you've done your job."[18]

Several of the songs on In Utero had been around for years, with some dating back to 1990.[23] Cobain later claimed in Ooz magazine that lyrics finished for only half the songs and the rest came from messing around in the studio.[24] However, Cobain told Spin in 1993 that in contrast to Bleach and Nevermind, the lyrics were "more focused, they're almost built on themes".[25] Michael Azerrad noted that the lyrics were less impressionistic and more straightforward than in previous Nirvana songs. Azerrad also noted that the album's lyrics contained a medical theme. He stated, "Virtually every song contains some image of sickness and disease".[26] Though Cobain himself stated that "for the most part [In Utero]'s very impersonal",[27] much of the album is related to his personal life.[28] "Serve the Servants" references Cobain's personal experiences, both recent and past. The opening line "Teenage angst has paid off well / Now I'm bored and old" references Nirvana's unexpected success and acclaim. The song also references the treatment of Cobain's wife in the press through a metaphor about witch-hunts ("If she floats then she is not a witch like we thought"), and belittles the impact of his parents' divorce ("That legendary divorce is such a bore"). However, most of the song is about Cobain's father; in a rough draft of the album's liner notes, he wrote that "I guess this song is for my father, who is incapable of communicating at the level of affection in which I have always expected."[29] Similarly, "Rape Me" contains a reference to a Vanity Fair article about Courtney Love, which accused her of taking heroin while pregnant and included an anonymous quote from a close friend of the band.[30]

Cobain also referred to books he had read in his lyrics for the album. "Frances Farmer Will Have Her Revenge on Seattle" was inspired by actress Frances Farmer, with whom Cobain was fascinated, particularly the fictionalized account of her life presented in the novel Shadowland.[31] The song "Scentless Apprentice" was written about Perfume: The Story of a Murderer, a historical horror novel about a perfumer's apprentice born with no body odor of his own but with a highly developed sense of smell, and who attempts to create the "ultimate perfume" for himself by killing virgin women and taking their scent.[32]

Packaging

The original title for In Utero was to be I Hate Myself And Want to Die, sharing its title with a song that was planned for the album. The phrase had originated in mid-1992 from one of Cobain's journal entries, and was meant as humor. It was Cobain's response whenever the question "How are you?" was put to him. The tentative album title would be changed after Novoselic convinced Cobain that I Hate Myself And Want to Die could potentially result in a lawsuit. The band then considered the title Verse Chorus Verse, a title shared with "Verse Chorus Verse" and an earlier working title of "Sappy", before settling on In Utero. The final title was taken from a poem by Courtney Love.[33]

The art director for In Utero was Robert Fisher, who had designed all of Nirvana's releases on DGC Records. Most of the ideas for the artwork for the album and related singles came from Cobain. Fisher recalled that "[Cobain] would just give me some loose odds and ends and say 'Do something with it.'"[34] The cover of the album is an image of a Transparent Anatomical Mannikin, with angel wings superimposed. Cobain created the collage on the back cover, referred to as "Sex and woman and In Utero and vaginas and birth and death", which includes fetuses and body parts lying in a bed of orchids and lilies. The collage had been set up on the floor of Cobain's living room and was photographed by Charles Peterson after an unexpected call from Cobain. According to Peterson, "one Sunday afternoon, Kurt calls me up, and is like 'Hey, I want you to take that picture now.' [...] I rummaged for whatever film I had in the fridge, and went over."[35] The album's track listing and re-illustrated symbols from Barbara G. Walker's The Woman's Dictionary of Symbols and Sacred Objects were then positioned around the edge of the collage.[36]

Pre-release controversy

After the recording sessions were completed, Nirvana sent unmastered tapes of the album to various people at DGC's parent company Geffen Records and at its management company Gold Mountain. Cobain described their reactions to the album as "The grown-ups don't like it." Cobain said he was told that the songwriting was "not up to par", and that the sound was "unlistenable".[37] Few at Geffen or Gold Mountain had wanted the band to record with Albini to begin with, and Cobain felt he was receiving an unstated message to scrap the sessions and start all over again. Cobain was upset; he told Michael Azerrad, "I should just rerecord this record and do the same thing we did last year because we sold out last year—there's no reason to try and redeem ourselves as artists at this point. I can't help myself—I'm just putting out a record I would like to listen to at home." However, various friends of the group loved the album. By early April 1993, Nirvana was intent on releasing the album as it was. Cobain said, "Of course, they want another Nevermind, but I'd rather die than do that. This is exactly the kind of record I would buy as a fan, that I would enjoy owning."[38]

However, the band members began to have doubts about the record's sound; Cobain remarked "The first time I played it at home, I knew there was something wrong. The whole first week I wasn’t really interested in listening to it at all, and that usually doesn’t happen. I got no emotion from it, I was just numb."[39] The group concluded that the problem was that the bass and lyrics were inaudible, and approached Albini to remix the album. Albini declined, saying "[Cobain] wanted to make a record that he could slam down on the table and say, 'Listen, I know this is good, and I know your concerns about it are meaningless, so go with it.' And I don't think he felt he had that yet. .... My problem was that I feared a slippery slope."[40] The band attempted to fix its concerns with the record during the mastering process with Bob Ludwig at his studio in Portland, Maine. Novoselic was pleased with the results, but Cobain still didn't feel the sound was perfect.[41]

Soon afterward, in April 1993 Albini remarked to the Chicago Tribune that he doubted Geffen would release the completed album.[42] While there was no immediate reply to his remarks from the group or the label, Newsweek ran a similar article soon after that focused wider attention on the story.[43] Nirvana denied any pressure from its label to change the album's sound. The band sent a letter to Newsweek that said that the article's author "ridiculed our relationship with our label based on totally erronous [sic] information"; the band also reprinted the letter in a full-page ad in Billboard. Geffen president Ed Rosenblatt insisted in a press release that Geffen would release anything the band submitted, and label founder David Geffen made the unusual move of personally calling Newsweek to complain about the article.[44]

Nirvana wanted to do further work on the recorded tracks, and considered working with producer Scott Litt and remixing some tracks with Andy Wallace (who had mixed Nevermind). Albini vehemently disagreed, and claimed he had an agreement with the band that it would not modify the tracks without his involvement. Albini initially refused to give the album master tapes to Gold Mountain, but relented after a phone call from Novoselic. The band decided against working with Wallace and chose to remix and augment the songs "Heart-Shaped Box" and "All Apologies" with Litt in May 1993.[45] One song, "I Hate Myself and Want to Die", was dropped from the track listing because Cobain felt there were too many "noise" songs on the album.[46] The rest of the album was left unaltered aside from a remastering which sharpened the bass guitar sound and increased the volume of the vocals by approximately three decibels.[47]

Release and reception

In Utero was released on September 24, 1993. DGC Records took a low-key approach to promoting the album in order to avoid hype. Geffen/DGC's head of marketing explained to Billboard prior to the album's release that the label was taking a similar approach to promoting Nevermind, explaining that the label "will set things up, duck, and get out of the way". The label aimed its promotion at alternative markets and press, and released the album on the vinyl record as part of this strategy.[48] Unlike with Nevermind, the label did not release any of the album's singles commercially in the United States.[4] Promo copies of the album's first single, "Heart-Shaped Box", were sent to American college, modern rock, and album-oriented rock radio stations in early September, but the label did not target Top 40 radio.[48] Despite the label's promotion, the band was convinced that In Utero would not be as successful as Nevermind. Cobain told music critic Jim DeRogatis, "We're certain that we won't sell a quarter as much, and we're totally comfortable with that because we like this record so much."[49]

In Utero debuted at number one on the Billboard 200 album chart,[50] selling 180,000 copies in its first week of release.[51] At the time of its release, retail chain stores Wal-Mart and Kmart refused to sell the album. According to The New York Times, Wal-Mart claimed the album was not carried due to lack of consumer demand, while Kmart representatives explained that the album "didn't fit within our merchandise mix."[52] In truth, the chains feared that customers would be offended by the artwork on the album's back cover. As a result, a new version of the album with reworked packaging was issued to the stores in March 1994. This version featured edited album artwork and the name of "Rape Me" changed to "Waif Me".[53]

Time's Christopher John Farley wrote in his review of the album, "Despite the fears of some alternative-music fans, Nirvana hasn't gone mainstream, though this potent new album may once again force the mainstream to go Nirvana."[54] Rolling Stone reviewer David Fricke wrote, "In Utero is a lot of things – brilliant, corrosive, enraged and thoughtful, most of them all at once. But more than anything, it's a triumph of the will."[55] Entertainment Weekly gave the album a B+. Reviewer David Browne wrote "Kurt Cobain hates it all" and commented that the sentiment pervades the record. Browne argued, "The music is often mesmerizing, cathartic rock & roll, but it is rock & roll without release, because the band is suspicious of the old-school rock cliches such a release would evoke."[56] NME gave the album an eight out of ten rating. Reviewer John Mulvey had doubts about the record; he concluded, "As a document of a mind in flux - dithering, dissatisfied, unable to come to terms with sanity - Kurt [Cobain] should be proud of [the album]. As a follow-up to one of the best records of the past ten years it just isn't quite there."[57] Ben Thompson of The Independent commented that in spite of the album's more abrasive songs, "In Utero is beautiful far more often than it is ugly", and added, "Nirvana have wisely neglected to make the unlistenable punk-rock nightmare they threatened us with."[58]

Critics ranked In Utero as one of the best releases of the year. It ranked first and second in the album categories of the Rolling Stone and Village Voice Pazz & Jop year-end critics' polls, respectively.[59][60] Additionally, The New York Times included it on its list of the top ten albums of the year.[61] The album was nominated for Best Alternative Music Album at the 1994 Grammy Awards.[62] In Utero has since been certified five times platinum by the Recording Industry Association of America for shipments of over five million units,[63] and has sold four million copies in the United States, according to Nielsen SoundScan.[64]

Accolades

Information adapted from Acclaimedmusic.net.[65]

Publication Country Accolade Year Rank
Spin US Best Albums of 1993[66] 1993 3
Rolling Stone US Album of the Year - Critics Pick[67] 1993 1
Entertainment Weekly US Top Albums of the Year 1993 5
Mojo UK Top 100 albums of 1993 1993 13
Kerrang! UK 100 Albums You Must Hear Before You Die - Editors Choice 1998 1
Kerrang! UK 100 Albums You Must Hear Before You Die - Readers Choice 1998 2
Q UK Best 50 Albums of Q's Lifetime 1999 20
Spin UK 50 Most Essential Punk Records 1999 13
Spin UK 90 Greatest Albums of the 90s 1999 18
Magnet US Top 60 Albums, 1993–2003[68] 2003 2
Rolling Stone US 500 Greatest Albums of All Time[69] 2003 439
Pitchfork Media US Top 100 Albums of the 1990s[70] 2003 13
Spin UK 100 Greatest Albums, 1985–2005[71] 2005 51
Q UK Best 100 Albums Ever 2006 22

Track listing

All songs by Kurt Cobain except where noted.

  1. "Serve the Servants" – 3:36
  2. "Scentless Apprentice" (Cobain, Dave Grohl, Krist Novoselic) – 3:48
  3. "Heart-Shaped Box" – 4:41
  4. "Rape Me" – 2:50
  5. "Frances Farmer Will Have Her Revenge on Seattle" – 4:09
  6. "Dumb" – 2:32
  7. "Very Ape" – 1:56
  8. "Milk It" – 3:55
  9. "Pennyroyal Tea" – 3:37
  10. "Radio Friendly Unit Shifter" – 4:51
  11. "Tourette's" – 1:35
  12. "All Apologies" – 3:51

"Gallons of Rubbing Alcohol Flow Through the Strip" (Cobain, Grohl, Novoselic) is a bonus track included at the end of non-US pressings of the album.

Personnel

Chart positions

Album

Chart (1993) Peak
position
US Billboard 200[72] 1
Australian Albums Chart[73] 2
Austrian Albums Chart[74] 8
Canadian RPM 100 Albums[75] 3
German Albums Chart[76] 14
Hungarian Albums Chart[77] 40
Netherlands Albums Chart[78] 4
Norwegian Albums Chart[79] 7
Swedish Albums Chart[80] 1
Swiss Albums Chart[81] 16
UK Albums Chart[82] 1
Chart (1994) Peak
position
New Zealand Albums Chart[83] 40
Chart (1995) Peak
position
Belgian (Wallonian) Albums Chart[84] 47

Singles

Year Single Peak positions
US Main
[85] 		US Mod
[85] 		AUS
[86] 		BEL
[87] 		FIN
[88] 		FRA
[89] 		IRE
[90] 		NZ
[91] 		SWE
[80] 		UK
[82]
1993 "Heart-Shaped Box" 4 1 21 31 14 37 6 9 16 5
"All Apologies"/"Rape Me" 4 1 58 — — 20 20 32 — 32
"—" denotes releases that did not chart.
Preceded by Billboard 200 Number-one album
October 9 – October 15, 1993 		Succeeded by
Preceded by UK Albums Chart Number-one album
September 21 – October 1, 1993 		Succeeded by

References

  • Azerrad, Michael. Come as You Are: The Story of Nirvana. Doubleday, 1994. ISBN 0-385-47199-8.
  • Cross, Charles. Heavier Than Heaven: A Biography of Kurt Cobain. Hyperion, 2001. ISBN 0-7868-8402-9.
  • DeRogatis, Jim. Milk It!: Collected Musings on the Alternative Music Explosion of the 90's. Da Capo, 2003. ISBN 0-306-81271-1
  • Gaar, Gillian G. In Utero 33⅓. Continuum, 2006. ISBN 0-8264-1776-0.
  • Rocco, John (editor). The Nirvana Companion: Two Decades of Commentary. Schirmer, 1998. ISBN 0-02-864930-3

Notes

  1. ^ Cross, 2001. p. 193
  2. ^ Olsen, Eric. "10 years later, Cobain lives on in his music". MSNBC.com. April 9, 2004. Retrieved on July 5, 2007
  3. ^ Azerrad, 1994. p. 312
  4. ^ a b Gaar, Gillian G. "Verse Chorus Verse: The Recording History of Nirvana". Goldmine. February 14, 1997.
  5. ^ Gaar, 2006. p. 16
  6. ^ Gaar, 2006. p. 17
  7. ^ Gaar, 2006. p. 23
  8. ^ Gaar, 2006. p. 29-30
  9. ^ DeRogatis, 2003. p. 5-6
  10. ^ Azerrad, 1994. p. 313
  11. ^ a b Azerrad, 1994. p. 314
  12. ^ Gaar, 2006. p. 39
  13. ^ Gaar, 2006. p. 40
  14. ^ Gaar, 2006. p. 36–37
  15. ^ a b c Azerrad, 1994. p. 315
  16. ^ DeRogatis, 2003. p. 16-17
  17. ^ Azerrad, 1994. p. 316
  18. ^ a b c d Azerrad, 1994. p. 317
  19. ^ a b Gaar, 2006. p. 61
  20. ^ Gaar, 2006. p. 64
  21. ^ Cross, 2001. p.
  22. ^ Gaar, 2006. p. 45
  23. ^ Gaar, 2006. p. 3
  24. ^ Gaar, 2006. p. 41–42
  25. ^ Steinke, Darcey. "Smashing Their Heads on That Punk Rock". Spin. October 1993.
  26. ^ Azerrad, 1994. p. 321
  27. ^ Savage, Jon. "Sounds Dirty: The Truth About Nirvana". The Observer, August 15, 1993.
  28. ^ Azerrad, 1994. p. 321-22
  29. ^ Cobain, Kurt. Journals, Riverhead Hardcover, 2002. ISBN 978-1573222327. p. 225–226
  30. ^ Azerrad, 1994. p. 323
  31. ^ Gaar, 2006. p. 50–51
  32. ^ Gaar, 2006. p. 43
  33. ^ Cross, 2001. p. 277–278
  34. ^ Gaar, 2006. p. 79
  35. ^ Gaar, 2006. p. 83
  36. ^ Gaar, 2006. p. 84
  37. ^ Azerrad, 1994. p. 331
  38. ^ Azerrad, 1994. p. 332
  39. ^ Mothersole, Ben. "Nirvana's Kurt Cobain: Getting to know Utero". Circus. November 30, 1993.
  40. ^ Gaar, 2006. p. 69
  41. ^ Azerrad, 1994. p. 336
  42. ^ Kot, Greg. "Record Label Finds Little Bliss in Nirvana's Latest". Chicago Tribune. April 19, 2003.
  43. ^ Goodman, Fred. "Nirvana to "Newsweek": Drop dead". Rolling Stone. June 24, 1993. Retrieved on February 10, 2008.
  44. ^ Azerrad, 1994. p. 336-37
  45. ^ Azerrad, 1994. p. 337-38
  46. ^ DeRogatis, 2003. p. 6
  47. ^ Azerrad, 1994. p. 338
  48. ^ a b Rosen, Craig. "Nirvana Set has Smell of Success". Billboard. September 25, 1993.
  49. ^ DeRogatis, 2003. p. 4
  50. ^ "In Numero Uno". Entertainment Weekly. October 8, 1993. Retrieved on December 1, 2008.
  51. ^ Gaar, p. 98
  52. ^ Pareles, Jon. "Nirvana, the Band That Hates to Be Loved". The New York Times. November 14, 1993. Retrieved on February 25, 2008.
  53. ^ Gaar, 2006. p. 87
  54. ^ Farley, Christopher John. "To The End Of Grunge." Time. September 20, 1993. Retrieved on February 25, 2008.
  55. ^ Fricke, David. In Utero (review). Rolling Stone. September 16, 1993. Retrieved on February 25, 2008.
  56. ^ Browne, David. In Utero (review). Entertainment Weekly. September 24, 1993. Retrieved on February 25, 2008.
  57. ^ Mulvey, John. In Utero (review). NME. September 4, 1993. Retrieved on February 25, 2008.
  58. ^ Thompson, Ben. In Utero (review). Independent on Sunday. September 1993.
  59. ^ Fricke, David. "Kurt Cobain: The Rolling Stone Interview". Rolling Stone. January 27, 1994.
  60. ^ Christgau, Robert. "The 1993 Pazz & Jop Critics Poll". Village Voice. March 1, 1994. Retrieved on December 13, 2008.
  61. ^ Jon, Pareles. "The Pop Life". The New York Times. January 5, 1994. Retrieved on December 13, 2008.
  62. ^ Rule, Sheila. "Sting Nominated To Receive 6 Grammys". The New York Times. January 7, 1994. Retrieved on December 13, 2008.
  63. ^ Top 100 Albums. RIAA.com. Retrieved on November 20, 2008.
  64. ^ Barnes, Ken. "Sales questions: Nirvana vs. Pearl Jam". USAToday.com. March 23, 2007. Retrieved on December 14, 2008.
  65. ^ "In Utero". AcclaimedMusic.net. Retrieved 2007-06-12.
  66. ^ "Spin End of year lists: Best of 1993". Rocklistmusic.co.uk. Retrieved 2007-06-23.
  67. ^ "Rolling Stone End of year Critic & Readers lists: Best of 1993". Rocklistmusic.co.uk. Retrieved 2007-06-23.
  68. ^ ""The Evidence": Magnet's Top 60 Albums, 1993–2003 (10th Anniversary Issue)". AcclaimedMusic.net. Retrieved 2007-06-12.
  69. ^ "439) In Utero". Rolling Stone. 2003-11-01. Retrieved 2007-06-23. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  70. ^ Tangari, Joe. "Pitchfork Feature: Top 100 Albums of the 1990s: 013: In Utero". Pitchfork Media. Retrieved 2007-06-06.
  71. ^ "SPIN.com: 100 Greatest Albums, 1985–2005". Spin. 2005-06-20. Retrieved 2007-06-23. {{cite web}}: Italic or bold markup not allowed in: |publisher= (help)
  72. ^ Nirvana > Charts & Awards > Billboard Albums. Allmusic.com. Retrieved on November 19, 2008.
  73. ^ Nirvana - In Utero (Album). Australian-charts.com. Retrieved on November 19, 2008.
  74. ^ Nirvana - In Utero (Album). Austriancharts.at (in Austrian German). Retrieved on November 19, 2008.
  75. ^ RPM100 Albums. RPM. October 9, 1993. Retrieved on November 20, 2008.
  76. ^ Chartverfolgung / Nirvana / Longplay. Musicline.de (in German). Retrieved on November 19, 2008.
  77. ^ Archívum. Mahasz (in Hungarian). Retrieved on November 20, 2008. NB user needs to enter "In Utero" in "Eloadó/cím", select "dal/album cím" and click "Keresés".
  78. ^ Nirvana - In Utero (Album). Dutchcharts.nl (in Dutch). Retrieved on November 20, 2008.
  79. ^ Nirvana - In Utero (Album). Norwegiancharts.com. Retrieved on November 20, 2008.
  80. ^ a b Nirvana in Swedish Charts. Swedishcharts.com. Retrieved on November 20, 2008.
  81. ^ Nirvana - In Utero (Album). Swisscharts.com. Retrieved on November 20, 2008.
  82. ^ a b Roberts, David (ed.). British Hit Singles & Albums. 19th edition. HIT Entertainment, 2006. ISBN 1-904994-10-5, p. 396
  83. ^ Nirvana - In Utero (Album). Charts.org.nz. Retrieved on November 20, 2008.
  84. ^ Nirvana - In Utero (Album). Ultratop.be (in French). Retrieved on November 20, 2008.
  85. ^ a b Nirvana > Charts & Awards > Billboard Singles. Allmusic. Retrieved on November 20, 2008.
  86. ^ Kent, David. Australian Chart Book 1970-1992 and 1993 - 2005. Australian Chart Book, 1993. ISBN 0646119176.
  87. ^ Collin, Robert. Het Belgisch Hitboek: 45 Jaar Hits in Vlaanderen: 1954-1999. Lier, Vox. ISBN 9076695016.
  88. ^ Pennanen, Timo. Sisältää hitin: levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972. Otava Publishing Company Ltd, 2003. ISBN 951121053X.
  89. ^ Nirvana Dans Les Charts Français. Lescharts.com (in French). Retrieved on November 20, 2008.
  90. ^ Search the Charts. IrishChart.ie. Retrieved on November 20, 2008. NB user needs to enter "Nirvana" in "Search by artist" and click "search".
  91. ^ Scapolo, Dean. New Zealand Music Charts, 1975-2000: Albums. D Scapolo, 2001. ISBN 0908876343.
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