| | Nirvana Unplugged In New York CD Nirvana Discography of CDs
(24 Customer Reviews)
Recorded live at Sony Music Studios, New York, New York on November 18, 1993.
UNPLUGGED IN NEW YORK won a 1996 Grammy Award for Best Alternative Music Performance.
What is ultimately so sad about Kurt Cobain taking his own life is that he was so giving to others, constantly campaigning for the artists who influenced him. Cobain breathed new life into the Raincoats' career (who thanked him on their latest EP), brought a wider audience to Eugenius' pop genius, and proved there was grunge in Seattle before the '90s by covering a Wipers song on INCESTICIDE.
The same reverential awe seeps through every minute of the UNPLUGGED IN NEW YORK performance, released nearly a year after its recording in November 1993. Cobain's originals, from the wrenching "All Apologies" to the numbing "Dumb," exempify his rare gift of saying so much with deceptively simple chords and melodies. His choice of covers displays influences as diverse as David Bowie and the Meat Puppets, and possibly most surprising, Leadbelly--included is a ferocious version of "Where Did You Sleep Last Night?"
UNPLUGGED IN NEW YORK is part of MTV's "Unplugged" series.
Gold disc version.
Personnel: Kurt Cobain (vocals, guitar); Dave Grohl (vocals, drums); Krist Novoselic (guitar, accordion); Cris Kirkwood (guitar, background vocals); Curt Kirkwood, Pat Smear (guitar); Lori Goldston (cello).
Recording information: Sony Studios, New York, NY (11/18/1993).
Photographer: Frank Micelotta.
Nirvana: Kurt Cobain (vocals, acoustic guitar); Dave Grohl (vocals, bass, drums); Krist Novoselic (guitar, accordion, bass).
Additional personnel: Cris Kirkwood (acoustic guitar, bass); Pat Smear, Curt Kirkwood (acoustic guitar); Lori Goldston (cello).
Rolling Stone (5/13/99, p.56) - Included in Rolling Stone's "Essential Recordings of the 90's." Rolling Stone (10/1/94, pp.120-121) - 4 Stars - Excellent - "...Nirvana's performance is stirring and occasionally brilliant, electricity be damned....Without the wild blasts ordinarily produced to fire Nirvana's sound, Cobain's love-buzz vocals are the focus..." Spin (1/95, p.71) - Highly Recommended - "...UNPLUGGED captures the moment of Nirvana bathing in its own richly deserved light, and though the moment couldn't last, nothing in the music suggests that there was anything inevitable or natural about the next chapter of the story..." Entertainment Weekly (11/4/94, pp.70-71) - "...Listening to MTV UNPLUGGED IN NEW YORK is an unsettling experience....the band...concentrates on the numbed-out chamber-grunge numbers....delicacy and intimacy of these acoustic re-arrangements hint...where Nirvana...could have gone..." - Rating: A Q (12/99, p.82) - Included in Q Magazine's "90 Best Albums Of The 1990s." Q (12/94, p.147) - 4 Stars - Excellent - "...stripped of the noise...the band sounds most moving, possessed of a ragged glory. And...it becomes clearer than ever just how much Nirvana owed to less feted Americans such as The Sneakers, dBs and Mitch Easter's Let's Active..." Alternative Press (1/95, pp.63-64) - "...UNPLUGGED is about as fine a memento mori as anyone could hope for..." Melody Maker (10/29/94, p.35) - "...gut-twistingly poignant....a fine and unreservedly recommended album, a melancholy masterpiece..." Village Voice (2/28/95) - Ranked #4 in the Village Voice's 1994 Pazz & Jop Critics Poll. Mojo (Publisher) (p.64) - Ranked #09 in Mojo's "100 Modern Classics" -- "Brittle and heartbruised, Nirvana's songs were stripped bare and scratched out on an acoustic guitar." Mojo (Publisher) (1/95, p.51) - Included in Mojo's "25 Best Albums of 1994" - "...a performance of raw vulnerability that served as the perfect epitaph for poor Kurt Cobain." New York Times (Publisher) (1/5/95, p.C15) - Included on Neil Strauss' list of the Top 10 Albums of '94 - "...These songs...[are] strings of epitaphs delivered in a blistering, electrifying unplugged show." NME (Magazine) (8/12/00, p.29) - Ranked #27 in The NME "Top 30 Heartbreak Albums". NME (Magazine) (12/24/94, p.22) - Ranked #4 in NME's list of the `Top 50 Albums Of 1994.' NME (Magazine) (10/29/94, p.45) - 9 - Excellent Plus - "...this album makes its makers sound legendary. Your hankies should be at the ready..." Unplugged In New York Music | List Price | $13.95 (You save $3.30) | | Category | Rock Albums, Alternative CDs, Rock/Pop, Live Performances, Grunge | | Label | Geffen | | Orig Year | 1994 | | All Time Sales Rank | 631  | | CD Universe Part number | 1158662 | | Catalog number | 24727 | | Discs | 1 | | Release Date | Nov 01, 1994 | | Studio/Live | Live | | Mono/Stereo | Stereo | | Producer | Alex Coletti; Nirvana; Scott Litt | | Personnel | Dave Grohl - vocals, drums Kurt Cobain - vocals, guitar Kurt Cobain - vocals, guitar Krist Novoselic - guitar, accordion
Also: Pat Smear, Cris Kirkwood, Curt Kirkwood, Lori Goldston |
Nirvana Unplugged In New York Songs Unplugged In New York Music Unplugged In New York Music Review Buy Unplugged In New York CD Purchase Unplugged In New York CD To buy, Click on price to add to cart | Nirvana From The Muddy Banks Of The Wishkah CD (1996)
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$17.49 Recorded between 1969 & 1971. Includes liner notes by Shaun Stallard.
This 2-disc deluxe expanded edition also includes THE GRASS IS GREENER.
One of England's prime jazz-rock -- or, more accurately, rock-jazz -- outfits, most of the members of Colossuem had apprenticed in blues bands, and it shows very strongly on some of the material here. Both "The Kettle" and "Butty's Blues" are essentially tarted-up 12-bar blues, although they work well in a grander context; in the latter case much grander, as a brass ensemble enters for the last part, drowning out everything but the guitar, an indication that this recording is in dire need of remastering. "Elegy" is a fast-paced, minor-key blues that stretches guitarist James Litherland's vocal abilities. Things do get far more interesting with "The Machine Demands a Sacrifice," which offers solo opportunities to organist Dave Greenslade and sax player Dick Heckstall-Smith before re-emerging in what can only be called a proto-industrial style, all heavily treated clattering percussion. The album's real joy comes with "The Valentyne Suite," which takes the band out of their bluesy comfort zone into something closer to prog rock. Bandleader Jon Hiseman is a stalwart throughout, his busy drumming and fills owing far more to jazz than the studied backbeat of rock. Greenslade proves to be a largely unsung hero, his only real solo in the suite something to offer a challenge to vintage Keith Emerson, but with swing. As to criticism, bassist Tony Reeves has very little flow to his playing, which severely hampers a rhythm section that needs to be loose-limbed, and Litherland's guitar playing is formulaic, which can be fine for rock, but once outside the most straightforward parameters, he seems lost. In retrospect this might not quite the classic it seemed at the time, but it remains listenable, and for much of the time, extremely enjoyable. ~ Chris Nickson
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