NIRVANA – BLEW EP (TUPELO)
Wonderfully sludgy this is Nirvana at seemingly their most down tuned and the song I used to attempt to play most when I had aspirations to learn the guitar while Kurt was still around to inspire us.
I don’t think this EP was even released in North America instead it was a UK only release scheduled to tie in with an upcoming European tour.
“Blew” was always I felt a much undervalued track in the Nirvana songbook with its seemingly distracted take with punctuating guitar stops feedbacking at the end of each verse in courteous fashion. The meandering bassline gives the track a drunken feel. Then as the song reaches its chorus the hooks fly in fast and hard. As to what the actual meaning of the song is, as with most Cobain compositions that is much open to debate. The poetry of the song trickles nicely though to the point that all the other elements of the track mean this is not of the essence. It has always been funny to note how this track sat as the opener on Bleach but would often close live sets.
Following on the EP is their cover version of “Love Buzz” by Shocking Blue which as everybody knows was their first release on Sub Pop. For some reason this song was missing from the Tupelo versions of Bleach so its inclusion here was enabling it to see the light of day in Europe. The version here is indeed the one from Bleach as opposed to Sub Pop Singles Club version. Personally I always thought the song stuck out like a sore thumb in a negative manner when it came to Nirvana, it is just too cumbersome and lumbering in a bad way. It fails to show or distinguish the strengths of anybody involved. Later some live versions of the song emerge to justify its existence but it’s much of muchness.
Coming third is “Been A Son”, that horribly self flagellating number with a grand hook delivered with slightly cringing lyrics and laboured intentions. The recording that appears here is different to the one that eventually appeared on Incesticide and is noticeable for its less punchy drumming and very different solo at that climax of the song which lends it a more lo-fi feel rather than the full on style that the song eventually took on.
Closing the release is another selection from Incesticide in the form of “Stain” (the actual version that appeared on the compilation. Again more self loathing rules the roost as Kurt refers himself as the stain in question providing and enabling a gateway for the listener to also celebrate their awkwardness and alienation. Its not necessarily empowering but being Nirvana the music of the number is caked in hooks and its own distinct power as such a degrading chorus almost turns into one of celebration. It is also noticeable that this is one of the few Nirvana songs with swearing in the lyrics, something that was often surprisingly avoided in their songs.
If you see this and you can afford it buy it.
Thesaurus moment: ooze.
Nirvana
Wonderfully sludgy this is Nirvana at seemingly their most down tuned and the song I used to attempt to play most when I had aspirations to learn the guitar while Kurt was still around to inspire us.
I don’t think this EP was even released in North America instead it was a UK only release scheduled to tie in with an upcoming European tour.
“Blew” was always I felt a much undervalued track in the Nirvana songbook with its seemingly distracted take with punctuating guitar stops feedbacking at the end of each verse in courteous fashion. The meandering bassline gives the track a drunken feel. Then as the song reaches its chorus the hooks fly in fast and hard. As to what the actual meaning of the song is, as with most Cobain compositions that is much open to debate. The poetry of the song trickles nicely though to the point that all the other elements of the track mean this is not of the essence. It has always been funny to note how this track sat as the opener on Bleach but would often close live sets.
Following on the EP is their cover version of “Love Buzz” by Shocking Blue which as everybody knows was their first release on Sub Pop. For some reason this song was missing from the Tupelo versions of Bleach so its inclusion here was enabling it to see the light of day in Europe. The version here is indeed the one from Bleach as opposed to Sub Pop Singles Club version. Personally I always thought the song stuck out like a sore thumb in a negative manner when it came to Nirvana, it is just too cumbersome and lumbering in a bad way. It fails to show or distinguish the strengths of anybody involved. Later some live versions of the song emerge to justify its existence but it’s much of muchness.
Coming third is “Been A Son”, that horribly self flagellating number with a grand hook delivered with slightly cringing lyrics and laboured intentions. The recording that appears here is different to the one that eventually appeared on Incesticide and is noticeable for its less punchy drumming and very different solo at that climax of the song which lends it a more lo-fi feel rather than the full on style that the song eventually took on.
Closing the release is another selection from Incesticide in the form of “Stain” (the actual version that appeared on the compilation. Again more self loathing rules the roost as Kurt refers himself as the stain in question providing and enabling a gateway for the listener to also celebrate their awkwardness and alienation. Its not necessarily empowering but being Nirvana the music of the number is caked in hooks and its own distinct power as such a degrading chorus almost turns into one of celebration. It is also noticeable that this is one of the few Nirvana songs with swearing in the lyrics, something that was often surprisingly avoided in their songs.
If you see this and you can afford it buy it.
Thesaurus moment: ooze.
Nirvana
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