More of a Post Mortem than a record (Mtv Unplugged In New York - Nirvana)

Name: kokomoko

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Product:	Mtv Unplugged In New York - Nirvana
Date:	30/12/02 (135 review reads)
Rating:

Advantages: Timeless classics made universally accessible, The latter part of the album, its live.

Disadvantages: too much Nirvana hype., The niggling question: would it have been so popular if kurt wasnt dead??

Since achieving worldwide recognition with 1991's 'Nevermind,' Seattle-based grungers Nirvana have explored and defined alternative rock, pioneering simplicity and melody as new mediums of expression in music. This record is certainly a testament to this, a selection of old and borrowed songs played to the famous 'unplugged' formula, which attempts to strip down songs, producing a clarity and focus thus gaining wider appeal.

The 'unplugged' set up is one of MTV's few gifts to rock musicians, a scheme which such virtuosos as Eric Clapton, Lenny Kravitz, Pearl Jam and Oasis have been able to take advantage of before and after Nirvana's success.

Those who were lucky enough to have seen the live performance would have experienced an extremely relaxed and serene show, certainly a new thing for Nirvana fans who will be used to the bands mischievous live behaviour.

The album kicks off with 'About a Girl,' a track from Nirvana?s first album, 'Bleach.' The song is stripped of it's fast and punky beat and transformed into a slow indie ballad. The highlight of the song comes halfway through with an excellent guitar solo, which really fits in well, adding a wholesome tone and a neat twist to the song. From the outset of the album it is clear that frontman Cobain is at the top of his game. Despite the usual technical criticisms, his guitar playing is thoughtful and emotive and his usually stretched vocals, lend themselves well to the acoustic backdrop.

Following 'About a Girl' is 'Come As You Are.' Which is comparatively unchanged from the original. The song is hurried through and is quite dull in its acoustic setting, The simple riff has been somewhat overplayed, however it satisfies the ear although the Nevermind version is definitely better.

The album's next song is called 'Jesus don't want me for a Sunbeam.' According to Cobain th
is is a rendition of an 'old Christian song' yet its autobiographical significance is clear. Its pace seems to epitomise Nirvana's timeless style with slow and fast parts creating a very interesting and entertaining track.

Hand in hand with 'Jesus...' is a David Bowie classic 'The Man Who Sold The World.' This track seems equally autobiographical:

Who Knows? Not me.
We never lost control.
You?re face to face
With the man who sold the world.

The melancholy pace of this song underlines it as one of the great cover versions of all time as it is able to sweetly polish the meaning of the song, which is delivered flawlessly.

It comes as a bit of an anti climax when the songs 'penny royal tea,' 'Dumb,' and 'Polly' which are extremely monotone and are basically just copied from their albums. Sure, everyone likes these songs, but they are played one dimensionally and I feel that instrumentally these songs could have been improved with the inclusion of a small orchestra or something. On their own, these songs come as a bit of a disappointment.

Slightly more interesting but nevertheless fatally flawed in comparison to the original is 'On a Plain.' It is a great song, and some sort of bluesy/psychedelic approach would have been far more adventurous. However, this song and those immediately before it do little to silence Nirvana's critics that they are lacking in musicianship.

Unfortunately, 'Something in The Way' is indifferent to the Nevermind version. And its simplicity really does show. This is the low point of the album. However, the end of this track hails the beginning of the latter and most intriguing part of the album: B-sides and tracks which no-one has ever heard before.

'Plateau' is a strange, folky song, which is undeniably addictive with its slow pace and catchy riff. It is a dreamy and inspiring track,
which would have suited a place on Nevermind well. The song is given room to breath through use of a 'floaty' mechanism.

'Oh, me' is delivered
with impeccable style and attention every chorus, bridge and note is nestled firmly in it's right place with a short but uplifting solo interlude adding balance. 'Oh, Me' comes across as serene and imaginative - an impressive song.

As if the folky approach doesn't stop, 'Lake of Fire's' Dylanesque sound and progression are very much appreciated and the tune cleverly contrasts with Cobain's moody vocals.

To finish the album is 'All Apologies' a song which is apparently Nirvana's best ever song. Despite it's unchanged formula it is a great song but you do miss the heavy distortion around the chorus.

Finally, Kurt Cobain sings the dark, Leadbelly song 'Where Did You Sleep Last Night' which is incredibly simple yet touches the soul brilliantly. This cover version is a great finale to the album.

Despite the dip in the middle this is a classic album and is essential for all alternative rock fans, especially since it's becoming cool to like Nirvana again. It provides an interesting insight to the bands personality and the interaction with the late Kurt Cobain will certainly attract those who see Cobain as some sort of Rock God.

Nirvana's last live album is a worthy obituary to an extremely influential, revolutionary band.

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