
Smells Like Teen Spirit
Four chords, a mumble nobody could decipher, and the riff that ended one decade of rock and started another.

Four chords, a mumble nobody could decipher, and the riff that ended one decade of rock and started another.

A guitar pitched down to fake a bass, and the seven-note riff every stadium on earth now sings.
Marr faked the strings on an Emulator, credited them to the Hated Salford Ensemble, and Britain waited six years.
Buck wrote the riff while teaching himself mandolin in front of the television, and R.E.M. got their biggest American hit.
Marr's shudder came from four Fender Twins with their tremolos fighting, and Morrissey put a lonely man in a nightclub.

A Small Clone chorus pedal gives the riff its underwater sound, and Cobain nearly withheld the single.
Named for a tour joke about people behaving badly, with Greenwood's piano circling and a delay unit eating the ending.

Built on an Andrew Oldham Orchestra recording of a Stones song; Jagger and Richards returned the credit in 2019.

Marr stacked roughly fifteen guitar tracks and dropped a knife on the strings; Morrissey lifted a line from Sleuth.
Four sections in six minutes, named for Douglas Adams's depressed robot, cut in a sixteenth-century manor near Bath.

Smith traced it to a day at Beachy Head with Mary Poole; Williams sped the tempo, adding the opening fill.

Rubin found the poem in Kiedis's notebook and pushed for it; Frusciante's mother sings in the choir at the end.

Greenwood meant those three dead notes before the chorus to wreck the song, and they are what makes it work.

Drums by Grohl, Hawkins not yet in the band, and Louise Post's backing vocals sung down a phone from Chicago.

A Leslie speaker gives the guitars their swirl, and Cornell built the title from a misheard news broadcast.

Francis traced the lyric to a fish that followed him diving; Albini taped Deal's vocal in a bathroom.

Armstrong rewrote it around his undiagnosed panic attacks, cut it at Fantasy Studios, and sold punk to the suburbs.

Gallagher wrote it in 1991, before Oasis had a record deal, pitching plain optimism against everything grunge was selling.

Albini recorded it at Pachyderm in a Minnesota winter, and Scott Litt later remixed it to lift Cobain's vocal.

Six and a half hours in Stephenson's house, a slide guitar loop, and a hook mocking Beck's own rapping.