This includes the final two songs of the collection, “Ferry Boat #3” and the instrumental “Score Piece #4”. While unintended, the soundtrack does provide an epitaph, if only because he appears across its two discs more than any other artist. The reissue of Singles: OST arrived one day after Chris Cornell’s death, leaving an unfortunate shadow looming over it. The latter, meanwhile, is only worth hearing if you enjoy Westerberg’s other superb track whittled down to the “ Some-bod-a-hay” line on loop. While the former is a fun, two-minute instrumental jam, it’s largely a curio that really only warrants a couple listens. If there is inessential material here, it’s Mike McCready’s swampy “Singles Blues 1” and the “score acoustic” version of Westerberg’s “Waiting for Somebody”. Having both studio and live versions of these songs available is a joy and proves just how powerful these two bands were in either setting. There’s a campfire-like acoustic take and a folky instrumental called “Blue Heart.” The former removes all the “ na-na-na-na”’s (except for the bridge), adding greater emphasis to its low-key pop melody and clever, heartfelt lyrics, while the latter demonstrates that Westerberg’s songwriting easily translates between genres.Įlsewhere, the fantastic Alice in Chains live performances from the film (“Would?” and “It Ain’t Like That”) finally get a CD release, as does Soundgarden’s performance of “Birth Ritual”. Paul Westerberg’s jangle-grunge gem “Dyslexic Heart,” for example, perhaps the ex-Replacement’s finest solo moment, takes on two different forms. Demo and alternate versions of songs from the original release, coupled with the inclusion of obscure and/or defunct bands from the Sub Pop roster (i.e., short-lived grunge acts Truly and Blood Circus), alone makes this a must for fans. Much of what’s offered further solidifies the album as the best point of entry into early 90’s rock.
We’re talking about Singles today because of the deluxe edition’s bonus disc, more than a third of which is previously unreleased material that’s not just vault-clearing fluff. Discussing the solo of Smashing Pumpkins’ “Drown” and how it’s the best and worst of the band’s career, or arguing that Pearl Jam’s “Breath” would’ve made Ten an even better record is stuff for a 25th anniversary column. Think of it as Alt Rock for Dummies.īut if you were or are a fan of grunge and/or alternative rock, you knew all of this already. Indeed, as artists on its roster were going platinum, so too did the soundtrack.
Singles: Original Motion Picture Soundtrack is also a nearly perfect primer on and microcosm of the grunge/alt-rock scene that was then nearing inescapable cultural phenomenon status (so much so that a rom-com was made around it). Sequencing and song choices complement each other perfectly, and its various artists didn’t just throw leftovers at quick product: there are songs here that rank among the artists’ finest.
#SINGLES SOUNDTRACK DELUXE EDITION 320 MOVIE#
This is no fault of the movie, which is a fine rom-com but while the movie may have left little resonance in its wake, its great music lives on, a mix-tape of the early ‘90s that sends you back to another time. A quarter of a century later, the soundtrack to the 1992 grunge-bandwagon jumper Singles has been more enduring than the movie behind it. Some movies define an era but sometimes, it’s the soundtrack more than the movie.
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