Label:Tupelo Recording Company – TUPLP6, Tupelo Recording Company – TUP LP6
Vinyl, LP, Album


A2Floyd The Barber2:18
A3About A Girl2:48
A5Big Cheese3:42
A6Paper Cuts4:06
B1Negative Creep2:56
B3Swap Meet3:03
B4Mr. Moustache3:24

Companies, etc.



Glossy cover

Original August 1989 British release on Tupelo including 300 copies pressed on white vinyl, 2000 copies on dark lime green vinyl, and black vinyl.

"Love Buzz" is replaced on this version by "Big Cheese", but there is a writing credit mentioned for "Love Buzz" in the liner notes on the back cover.

Remastered and re-released on DGC and Geffen in April 1992 and re-issued again in 2002 on Warner Music UK Ltd.

On rear cover:
Tupelo Recording Company
licensed from Sub Pop
Made in England
Manufactured & Distributed by
Recorded in Seattle at Reciprocal Recording by Jack Endino for $600.
All songs written by Kurdt Kobain , except Love Buzz, written by Robby Van Leeuwen.

Some copies have only 'A Side' or only 'B Side' labels on both sides.

Barcode and Other Identifiers

  • Barcode: 5 018615 200611
  • Matrix / Runout (Runout side A, etched): MPO TUPLP 6 A¹
  • Matrix / Runout (Runout side B, etched): MPO TUPLP 6 B¹

Other Versions (5 of 380)

View All
Title (Format)LabelCat#CountryYear
Bleach (LP, Album, White)Tupelo Recording Company, Tupelo Recording CompanyTUPLP6, TUP LP6UK1989
Recently Edited
Bleach (CD, Album)Tupelo Recording Company, Tupelo Recording CompanyTUPCD6, TUP CD6UK1989
Recently Edited
Bleach (LP, Album, Blue, Blue Text)Waterfront RecordsDAMP 114Australia1989
Bleach (LP, Album, Limited Edition, Green Dark)Tupelo Recording Company, Tupelo Recording CompanyTUPLP6, TUP LP6UK1989
Recently Edited
Bleach (LP, Album, Blue Light ,Blue / Silver Sleeve)Waterfront RecordsDAMP 114Australia1989



  • subtle70's avatar
    I've owned this since release and I'm slightly stunned by the price difference between this OG UK pressing and the OG US version. I will concede the US one has much cooler labels but the UK pressing is SO good I 'd be amazed if the US one was better or quite frankly even as good. This is a (relative) bargain compared to the US one so if you want an OG issue grab this one and save yourself a small fortune, I guarantee you won't be disappointed.
    • Koizumicromo's avatar
      Yep I got to agree with the comment below. If you can manage to get a decent pressing of this you will not be disappointed. Heavy,raw and full of bass. I have a first press nevermind also and this sounds just as good.
      • Family_Guy's avatar
        This is a KILLER pressing that sounds really really good, it's loud and raw, which fits this heavy album perfectly! To my ears it beats the "US Erika 1992" pressing, and compared to the "20th Ann.." it's not even close! So, if you can find a clean copy this UK 1st press will not disappoint you!
        • Videodrome76's avatar
          Basically "stoner music", it sounds very slow and heavy. Amazing album!
          • jonathanbennett's avatar
            I thought my jacket was scratched on the back cover where the credit for Lisa Orth is partly missing. Looks like all the first UK pressings have this, and many of the bootlegs picked up this detail too. I'll upload an image.
            • logandstrait's avatar
              One of the greatest albums of all time.

              Too often seen in the context of the band's later success, "Bleach" preserves a perfect snapshot of the world which bred grunge. Legend has it that most of the lyrics on this record were improvised or written mere minutes before recording. The true beauty is that sandwiching the utter nadir that is "Paper Cuts" and "Negative Creep" are a few expertly crafted pop tunes about trying to get laid and feeling pessimistic. The two tracks in question are sheer genius. On "Paper Cuts", Kurt relates the story of a friend of his, kept prisoner in his parents' basement for years, before delivering the band-defining chorus, "Why? I said so. Nirvana... Nirvana... Nirvana...", while on "Negative Creep", he laments a general loss of innocence and admits, "This is getting to be a drone."

              It's been said that Kurt's strength as a songwriter lies in elevating the pedestrian to the realm of the sacred. Nowhere is this more clear than on tunes like, "Scoff" ("In my eyes, I'm not lazy. In your face, it's not over. In your room, I'm no older. In your eyes, I'm not worth shit.") or the classic "Swap Meet", which is about a couple that sell necklaces at a swap meet and bang strangers.


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