NIRVANA – MTV UNPLUGGED IN NEW YORK (GEFFEN)
Emotions were running incredibly high when this release surfaced in late 1994. It had only been months since Kurt Cobain had killed himself and with it he had left an already miserable fan base reeling, still struggling to comprehend a world that hadn’t necessarily made that much sense in the first place. Suddenly their favourite songs had gone delicate and even more meaningful and emotive. Even music snobs liked this one.
The set was big even before the unfortunate event of the suicide. It was first broadcast in February 1994 and was received by me at a time when life did not necessarily make the most sense to me as I was stuck in some kind of post-school wilderness period without education and without a career in some kind of youth training college limbo surrounded by people who really weren’t going anywhere or doing anything with their lives. I had been lumped in with this crowd when really I wanted so much more. This was the problem of being raised in the sticks.
It begins with the lines “good evening. This is off our first record, most people don’t own it” as the band launch into a gorgeous version of “About A Girl”. With such a defeated announcement it really sets the tone for the recording as being one of downbeat beauty. Whether that comment was necessary or not is open to debate but it certainly was a defining moment that set out the band’s stall and looked/served to make any passer-by or fairweather supporters feel awkward and uneasy.
Following would come a strained version of “Come As You Are” which despite being acoustic still managed to maintain that unique, almost aquatic sound. Stripped down this song now appeared to bare its soul more than ever and became quite a different beast in the process.
The first cover version of the set (the first of six) arrives as Kurt refers to the song as “a rendition of an old Christian song, I think. But we do it the Vaselines way” as they step into “Jesus Doesn’t Want Me For A Sunbeam”. This is a song that I had numerous live electric versions of previously but this really seemed to work as Krist picked up an accordion and lent an unexpected element/edge to proceedings. Surrounded by so much warped but seemingly spiritual imagery was this Kurt fully succumbing to religion?
Next comes probably the most striking track of the set in the form of the David Bowie cover of “The Man Who Sold The World”. This was not expected; this seemed to come out of nowhere. Since when was Kurt a fan of Bowie? It was definitely not an obvious choice and with a bit of electric guitar to slice open proceedings the words seemed to fit as the reluctant superstar expressed a desperation and sense of loss. In the end as with every song the band would cover they improved it and added much value with a new meaning. The Bowie version never held this much depth.
From here tracks such as “Pennyroyal Tea”, “Dumb”, “Polly” and “Something In The Way” (which wasn’t included in the original MTV broadcast) feel very suited to the acoustic setting, possibly even better. “Pennyroyal Tea” particular stands out as being just Kurt on his own churning out a song with a lot of explicit personal meaning. Likewise the transformation of a barn-burning track such as “On A Plain” into a tender piece feels as if it gives the song a new meaning and the gift of reinvention.
The introduction of the Kirkwood brothers towards the end was a stand out decision lending an earthy and haunting tone to proceedings with quite different compositions that still managed to maintain cohesion within the set and tangible teardrops. Originally of the three Meat Puppets song performed it was only “Plateau” and “Lake Of Fire” that were broadcast as the genuinely sweet “Oh Me” for whatever reason failed to make the cut. While the other two songs almost sounded like something Alan Lomax might have discovered “Oh Me” was pure sweetness and when MTV played a tribute to Kurt at the 1994 MTV Awards we were offered a sneak peak/preview of the song which in many ways made it the most anticipated song for when the album was finally released. And as it was coming after Kurt’s demise the line “I can’t see the end of me” now possessed a huge weight. Then “Lake Of Fire” opens with the line “where do bad folks go when they die” and the listener could be forgiven for being slain by this point.
As the Kirkwood brothers exit Dave begins teasingly drumming the introduction to “Scentless Apprentice” before the band enter into “All Apologies” with much clarity and a version that opens sounding very similar to the electric version on In Utero. In its new state the song proves versatile and comfortable on this occasion as the rousing chorus retains its strangely upbeat and positive tone despite being in possession of quite fatal terminology. When it comes to a close it feels extended in its exit.
The real closing arrives in the form of their Leadbelly cover “Where Did You Sleep Last Night?” (“In The Pines”) as the performance transcends several decades of music as the modern version of the blues matches up to and pays homage to its ancestry. Were these words being aimed at Courtney? She didn’t deserve such gesture and sentiment. It’s a beefy song that definitely takes its toll as Kurt’s vocals really get pushed to the limit as he goes all out for the closer even having to take an agonising break/pause just before unleashing the final words.
With this the art of MTV Unplugged briefly became cool. No longer was it Eric Clapton doing a boring rendition of “Layla” instead it now held real merit and emotional value. In some ways I think they gave up the ghost after this, this was the session that would never be topped. This was so much more better than the Pearl Jam programme. Briefly bands jumped on the bandwagon but they were soon exposed, especially Hole who instead just made a mess of their show, emphasising the drama and crocodile tears. Then when Stone Temple Pilots did their session they included their own Bowie cover in the form of “Andy Warhol”. Why be so transparent?
On the whole I avoid this record these days, its just too sad to revisit but whenever I do I am reminded that Nirvana were the greatest band my generation will ever see.
Thesaurus moment: superlative.
Nirvana
Geffen
No comments:
Post a Comment