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The 8 Best Grunge Tracks of All Time

Seattle from 1988: hardcore's volume and independence welded to Black Sabbath riffs and pop melodies, on a local label with a deliberate house aesthetic, three years before the whole thing was sold to the world as a youth movement.

Origin
Seattle, Washington, 1988
Tempo
90–150 BPM
Also known as
seattle sound, sub pop, the seattle scene
Tracks
8
Updated
2026-08-31

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  1. Number 1: Nirvana / Smells Like Teen Spirit

    1991 · DGC

    Cobain called it an attempt to write a Pixies song. Four chords, a quiet verse, an unintelligible chorus, and the end of one era of popular music inside three months.

  2. Number 2: Mudhoney / Touch Me I'm Sick

    1988 · Sub Pop

    The founding document, and much funnier than what followed. A fuzz pedal, a Sonics riff, and no interest whatsoever in being taken seriously.

    Also on The Eighties

  3. Number 3: Pearl Jam / Black

    1991 · Epic

    Vedder refused to release it as a single because it was too personal, which did not stop it becoming the band's most requested song. Grunge's one great ballad.

  4. Number 4: Alice in Chains / Would?

    1992 · Columbia

    Written about Andrew Wood of Mother Love Bone, dead of an overdose at twenty-four. Staley's harmonies with Cantrell are the most distinctive sound the scene produced.

  5. Number 5: Soundgarden / Outshined

    1991 · A&M

    In seven-four, which nobody in the audience noticed, and Cornell singing at the top of a range most people do not have. The most technically able band in Seattle.

  6. Number 6: Nirvana / Negative Creep

    1989 · Sub Pop

    Bleach, recorded for six hundred dollars. Before the melodies took over, and a useful corrective to the idea that Nirvana were ever a pop group by accident.

  7. Number 7: TAD / Dyers Eve

    1989 · Sub Pop

    The heaviest band on the label and the one that never crossed over. Included because Seattle was a scene before it was a marketing category.

  8. Number 8: Pixies / Where Is My Mind?

    1988 · 4AD

    Boston, not Seattle, and Cobain said plainly that he was trying to rip them off. The quiet-loud-quiet structure that defined the decade is theirs.