Release and Reception
"All Apologies" was released as a double A-side single with "Rape Me" in December 1993 on CD, cassette tape, and 7" and 12" vinyl record formats. The only instruction Cobain gave the single's art director Robert Fisher regarding the packaging was that he wanted "Something with seahorses". Like its predecessor "Heart-Shaped Box", the single was not released commercially in the United States. Everett True of Melody Maker made "All Apologies" the Single Of The Week for the magazine; he wrote "It's the most supremely resigned, supremely weary fuck you to the outside world I've heard this year. 'All Apologies' has the most gorgeous, aching tune, an emotionally draining ennui." In 2004, Rolling Stone magazine ranked the song at number 455 on its list of the 500 Greatest Songs of All Time. This song also ranked at number 99 in Blender's The 500 Greatest Songs Since You Were Born.
"All Apologies" was nominated for a Grammy Award for Best Rock Performance by a Duo or Group with Vocal and Best Rock Song in 1995.
The Unplugged version appears on the band's 1994 album MTV Unplugged in New York and was released as a promotional single from that album. This version was also included on the 2002 "best-of" compilation album, Nirvana. An acoustic demo appears on the band's rarities box set, With the Lights Out released in 2004 and on the compilation album, Sliver: The Best of the Box released in 2005.
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Famous quotes containing the words release and, release and/or reception:
“We read poetry because the poets, like ourselves, have been haunted by the inescapable tyranny of time and death; have suffered the pain of loss, and the more wearing, continuous pain of frustration and failure; and have had moods of unlooked-for release and peace. They have known and watched in themselves and others.”
—Elizabeth Drew (1887–1965)
“The near touch of death may be a release into life; if only it will break the egoistic will, and release that other flow.”
—D.H. (David Herbert)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)