Friday, 16 November 2007
MTV Unplugged in New York (album)
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Editorial Reviews
Appealing to our sense of romantic nostalgia for a time when music making was about connecting flesh and bone to wood and wire rather than the mains socket, Unplugged has seen many occasions when rock songs stripped of all their sonic frills and amplified heat become reinvented and revelatory. When it works best it tells us something new about both the singer and the song. Neil Young’s Unplugged and his version of “Like A Hurricane” immediately springs to mind.
What do we learn from the gentle stroll-through renditions of “Come As You Are” or “About A Girl” that wasn’t said more successfully on the originals? The muted expression in these campfire run-throughs, as though the band are sensitive about having their playing exposed to the kind of scrutiny the Unplugged format invites, makes them tentative and tepid compared to their fiery forebears. Only “Something In The Way” with added cello gravitas seems to be comfortable in its new arrangement.
With more cutting-edge than a sawmill working double shifts, Nirvana’s clout was always located in their sound as much as the songs themselves, whose essence was utterly defined by their reliance on electricity. As with most of the grunge movement their material is so intrinsically linked to the juice that without it, this stuff has a slightly hollow ring to it.
It’s interesting that they seem to audibly relax and stretch a little when playing other people’s songs–notably on the Meat Puppets’ lamentation “Oh Me” and The Vaselines’ “Jesus Doesn’t Want Me For A Sunbeam.”
Had Cobain lived this set would be viewed as a mildly entertaining but probably flawed diversion from the real action. Released after his suicide in 1994, it was inevitable that the album was greeted with the kind of fervour that in days gone by might have been accorded to the relics of a martyred Saint. For all the hype though, this set fails to get close to the plugged-in bite that was part and parcel of their strength and appeal. - by Sid Smith
Source: www.bbc.co.uk
The last Nirvana collection recorded before the untimely death of Kurt Cobain, Unplugged caught many by surprise with its stripped down, neo-acoustic offerings with a bridled fury. When Cobain sings, "I swear I don't have a gun, I don't have a gun" with clenched teeth (instead of an open howl) and when the haunting strains of "About a Girl"--from their earliest LP--chills even with quieted guitars, you discover a new appreciation for the nuances of one of the greatest bands of recent times. Highlights include covers of three Meat Puppets tracks (featuring special guests Curt and Kris Kirkwood of that influential "college rock" band), the weepy cello on the Vaselines' "Jesus Doesn't Want Me for a Sunbeam," and their cover of David Bowie's "The Man Who Sold the World." --Lorry Fleming
Source: Amazon.com
Track listing
1. About a Girl
2. Come as You Are
3. Jesus Doesn't Want Me for a Sunbeam
4. The Man Who Sold the World
5. Pennyroyal Tea
6. Dumb
7. Polly - Video
8. On a Plain
9. Something in the Way
10. Plateau
11. Oh Me
12. Lake of Fire
13. All Apologies
14. Where Did You Sleep Last Night?
Album Info
# Audio CD (November 1, 1994)
# Original Release Date: November 1, 1994
# Number of Discs: 1
# Format: Live
# Label: Geffen Records
# ASIN: B000003TB9
# Also Available in: Audio Cassette | LP Record
Buy From
Amazon.com
Labels: NIRVANA CDS, NIRVANA DISCOGRAPHY, NIRVANA LIVE
posted by kanx1976 at
15:02
![Come as You Are [SINGLE] [EP] (CD)](http://upload.wikimedia.org/wikipedia/en/0/06/ComeAsYouAre.jpg)
4 Comments:
Beautiful and timeless
Nirvana's Unplugged remains one of the band's most majestic moments. Coming hot off the heels of the noisy In Utero album, the band decided to stop into MTV's studios in New York City and play an acoustic set that completely erased any notions that they were just a simple "grunge" band. Kurt Cobain seems completely relaxed throughout, and he gives some staggeringly beautiful vocal performances. Dave Grohl plays the drums with wire brushes and demonstrates that he was just as capable of subtle shading as he was at hard-hitting fury. Krist Novoselic proves himself to be a worthwhile musician as well, playing accordion on "Jesus Doen't Want Me For a Sunbeam" in additon to playing a very solid-yet-laid back acoustic bass. Add former Germs guitarist Pat Smear to the lineup, as well as a guest appearance by the Kirkwood brothers of Tempe band the Meat Puppets, and you have all of the ingredients of that legendary November 1993 night.
All of the most obvious choices from Nevermind are featured here, "Polly," and "Something in the Way" of course, but their acoustic rendering of "On a Plain" is both relevatory and surprising, since I would not have expected them to include this song, and what's more it actually works as an acoustic! The classic "Come As You Are" is given more subtlely and emotion here, and that flanged guitar solo sounds positively stunning on an acoustic (actually he was using a half-acoustic/half-electric hybrid). The band also delivers some of the most mature songs from In Utero, too. "Dumb" sounds both blissful and melancholy at the same time, "All Apologies" is one of the highlights here, and "Pennyroyal Tea" stands as one of Kurt's most emotionally naked moments (I actually like the version here better).
Like the Beatles before him, Kurt Cobain had the uncanny ability to take any cover song and make it his own. From Devo to Leadbelly, David Bowie to the Vaselines, Kurt made it sound like all of these songs were his own, and he does this beautifully here as well, especially on their rendition of Bowie's "Man Who Sold the World," and of course, Leadbelly's "Where Did You Sleep Last Night." The latter has to be one of Nirvana's most chilling moments of all time, especially near the close of the song, where Kurt is giving it his all. Then, with an impassioned cry of "SHIVEEERRRRR!" he pauses for a couple of seconds before finishing the line. At this moment, I have to say the silence is deafening and is absolutely haunting in the purest sense of the word. It seems ironic that a band who was known for noisy live performances could rip walls out (and hearts) with two seconds of silence. This, if nothing else, stands as a testament to Nirvana's gifts.
As life affirming as this can be to listen to, sometimes it can also be quite sad knowing that this is ultimately the last word from Nirvana before Kurt's untimely death. But if this was the band's (and Kurt's) swan song, it is certainly the best finale that one can have, and I would certainly want something this beautiful to be my farewell, too. Even ten years later (God, has it been that long already?), Nirvana's Unplugged session remains as fresh as it was at the time, and stands as one of their very best live performances (as well as their most unique). Whether you are a casual fan or a diehard, this album is not to be missed and you are doing yourself a grave injustice if you skip out. This isn't just an Unplugged session, it is an experience.
A sad farewell
November of 1994 saw the release of Nirvana's first posthumous album, "MTV Unplugged in New York." The album was recorded just six months before the death of Kurt Cobain and released just six months after. Much like John Lennon's "Double Fantasy," (1980) it's hard to listen to the album and take it out of the context surrounding its tragic circumstances.
"MTV Unplugged in New York City" would be a somber enough album as is, but considering Cobain died shortly after it was recorded, the album takes on special meaning. The album possesses the tone and atmosphere of a funeral, although it's not so depressing that it becomes unlistenable. Rather, "MTV Unplugged in New York City" serves as a tribute and memorial to one of rock's most talented musicians. Much like "Double Fantasy," "MTV Unplugged in New York City" serves as an artist's bittersweet goodbye.
The Nirvana power trio of Cobain, (guitar, vocals) Dave Grohl, (drums, bass) and Krist Novoselic (bass, accordion, guitar) is joined by Pat Smear (guitar). Lori Goldston (cello) joins the band for many of the songs. Curt and Cris Kirkwood (guitar, bass) of the Meat Puppets join the band for three renditions of songs from the Meat Puppets "Meat Puppets II" (1984). A second guitar player thickens the sound and leaves Cobain free to solo. The added cello works very nicely, enhancing and enriching the songs. The added cello especially shines in "Pennyroyal Tea" and "Something in the way."
Stripped down renditions of songs from Nirvana's three albums, "Bleach," (1989) "Nevermind," (1991) and "In Utero," (1993) offer a subtler, but equally exciting take on the classics. While unplugged versions of songs can often yield mixed results, nothing is lost in the sparseness of these renditions.
There are several cover songs on this recording by artists including the Vaselines, the Meat Puppets, Leadbelly and David Bowie. Nirvana's adaptations of these songs match, perhaps even outshine the originals. As others have pointed out, Cobain takes other artists songs and makes them his own. While the album is interspersed with cover songs, nothing ever seems out of place. The album has an easygoing, soothing flow which never gets monotonous. It's the type of album that you can listen to again once you are finished.
"MTV Unplugged in New York City" was recorded live at Sony Music Studios on November 18, 1993. In front of an audience and off-the-cuff, "MTV Unplugged in New York City" offers a rare glimpse into whom Cobain was as a person. His chatter with the band and his interaction with the audience show him to be sensitive, articulate, meticulous, humble, and not without a sense of humor.
It's hard to listen to this album and not have Cobain's imminent suicide on the back of ones mind. "All Apologies" sounds especially poignant when placed in this context, knowing how much pain Cobain must have felt while performing.
While Cobain's early death was a great loss, his legacy and genius is immortalized on this recording. With "MTV Unplugged in New York City," Cobain should not be mourned, but rather his life and his music should be celebrated. This recording serves as a fitting epithet to one of rocks most tortured, genuine and gifted talents.
The best live recording of the 1990s.
Although Nirvana's studio work was great (particularly In Utero), this live album of November 1993 solidified the band's legend.
The concept behind Unplugged was decidedly unusual. Here was an intense, loud punk band from Seattle playing acoustic. An odd concept indeed, but Cobain, Grohl, and Novoselic were more than up to the task with a beautiful 14-song set. To my knowledge, Nirvana was the first to play an entire Unplugged session in a single take, which makes the quality of the performance all the more remarkable.
Instead of just playing a list of popular hits (as Alice In Chains did in the Unplugged format), Kurt decided to pay homage to the band's indie roots with covers of the Vaselines (Jesus Doesn't Want Me For A Sunbeam), David Bowie (The Man Who Sold The World, featuring the only plugged guitar), and three selections from Meat Puppets II (Plateau, Oh Me, Lake Of Fire). All of these renditions are pure gold, and I consider them superior to the originals.
Their studio work takes on a new dimension without the electric distortion. About A Girl sends shivers up my spine, Come As You Are sounds even more impressive acoustic, Dumb is filled with beautiful stringwork, Pennyroyal Tea becomes a haunting solo ballad, and All Apologies changes from raw to meloncholy. Most of these songs are at least equivalent to the studio versions, with All Apologies being much better than the harsh In Utero version.
The best track of all though is the unforgettable Where Did You Sleep Last Night. In this Leadbelly cover, Kurt lets all the feeling hit home, especially toward the end with his piercing screams. I've never heard a more emotional song in my life, and I always shed a tear listening to it.
This one ranks as the best live album of the 1990's and among the best ever. If you love Nirvana, definitely buy this one. If you never considered buying a Nirvana album, this one will make you a fan. Trust me.
----RIP Kurt----
Everyone loves a hero. And for anyone who has an ear for good music and truly appreciates it, that's Kurt Cobain. He had the whole style, and more importantly, the talent. To all the haters that dislike him because of an ill-mannered lifestyle, then you have got to lose the attitude because it's none of your business. Face it. None of you could ever pull as good a vocal stunt as he could in "Where Did You Sleep Last Night?" And I'll bet it wasn't easy.
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