"Big Long Now" was omitted from the album because vocalist/guitarist Kurt Cobain felt "there was already enough slow heavy stuff on "Bleach", and he 'didn't want that song to go out'", according to Endino. The album was edited and sequenced, but Sub Pop head Bruce Pavitt ordered that the album be completely re-sequenced. The record was further delayed for several months until Sub Pop was able to secure sufficient funds to issue it. Lead singer Kurt Cobain felt pressured to create music for "Bleach" that conformed to the grunge music style favored by his record label and the contemporary Seattle music scene. The album is regarded as quite negative and bleak; Cobain claimed that most of the lyrics were written the night before recording while he was feeling "pissed off", and that he did not regard them highly. Endino billed the band thirty hours of recording at $606.17. Jason Everman, a guitarist who was impressed by Nirvana's demo with Dale Crover, supplied the money. He briefly joined the group as second guitarist. Everman was credited as a guitarist on the album sleeve, and is the other guitarist on the cover of the album, even though he did not perform on the album. Bassist Krist Novoselic explained, "We just wanted to make him feel at home in the band." According to Cobain, the music on "Bleach" conformed with the grunge genre Sub Pop heavily endorsed. "There was this pressure from Sub Pop and the grunge scene to play 'rock music'", Cobain said, and noted that he "[stripped] it down and [made] it sound like Aerosmith." Cobain also felt he had to fit the expectations of the grunge sound to build a fanbase, and hence suppressed his arty and pop songwriting traits while crafting the record. Krist Novoselic said in a 2001 interview with "Rolling Stone" that the band had played a tape in their tour van that had an album by The Smithereens on one side and one by the extreme metal band Celtic Frost on the other, and noted that the combination probably played an influence as well. The songs were described as "deliberately bleak, claustrophobic, and lyrically sparse, with none of the manic derangement or sense of release of the live performance". Cobain said that the song structures were "one–dimensional", and said that he sought to present a more "polished and urbane side of happy".