I sold this CD to old and young alike, to frequent customers who had told me they would never purchase a Nirvana CD. This CD changed the negative stigma surrounding Nirvana's "grunge" image in Seattle.

Baby boomers told me that "this CD is the closest to the Beatles that you are ever going to get- it is raw, alive, and completley heartfelt in it's quiet and thoughtful honesty."

I think this CD represents the Cobain that we did not hear enough of on disc. It is more subdued and contemplative than Nirvana's other works. It is somewhat of an homage to their early influences. The few cover tracks are presented with such craft and dignity, that I came away feeling a newfound respect for those who can master the work of an idol in 5 minutes this professionally and flawlessly.

Admiring David Bowie as a kid REALLY worked in Kurt's favor on track #4. Cobain displays humility and even a bit of embarassment in his intro to "The Man Who Sold the World", his performance of the song remains brave and true to his Nirvana sound, with the classic Cobain shrill smoker/cough drop addict schreech, more reminiscent of Richard Butler of the Psychedelic Furs than Bowie. He sounds so much older than 27 years old both in style and in substance.

The original Nirvana material presented in acoustic form sets out to examine a mature, "Look, I'm a dad, now" ground, territory far removed from the youthful sprite and rampant guitar assault of Nevermind and Bleach. This is a composition of songs performed live that emphasize a band's ability to perform a well crafted blend of raw enertia, and humble, thoughtfelt contemplation all in the same performance.

I know from selling this CD that it's magnitude extended to every brand of audience and every type of individual, whi! ch is an admirable reflection on the fact that the music did not need a compass to direct it's genre.

The lyrics on this CD are simpler than the Beatle's were and contain less magic realism, yet the same exuberance and faith in the group's ability to execute a song and elevate it little by little into a explosive force by the song's end. They do this without seeming contrived or showy.

My favorite part of the CD is where Cobain stops, and respectfully asks the band if he can start a song over. This showed that he was a believer in his bandmates and I respected that moment on the CD; it was true egalitarianism in effect, and showed a quality I did not expect from someone his age.

The result is a balance of give and take that still resonates through my speakers as clearly and with as much raw emotion and honesty as the first day I played it. The overall feeling is that of a group who's coherence and balance in this live performance exude a feeling of friendship within the group. The song's themes range in topic from self-doubt, to immortality, to youthful blame, to redemption in oneself and in the eyes of others.

"Where Did You Sleep Last Night" reminds me of old Johnny Cash music playing in the back of a roadhouse saloon, It is a diverse area for Kurt to have ventured into, yet he executes the song in such a creepy, eerie way, that the song is my favorite on the CD merely for its delivery; for its representation of confrontation; of demanding an explanation from someone who may already be too far gone--and all that their answer to you represents. The dichotomy of past and present, and of the future between two people hanging in the balance.


The lost potential...   September 12, 2003
 12 out of 12 found this review helpful

This would have been a better title for this album. Recorded before and released after Kurt Cobain's selfish final stand, this album truly showcases: 1) the enormous potential Cobain as a songwriter took to the grave with him, and 2) the brilliance of his songs and their pliabilty to other forms of performance. It would have been hard to imagine Nirvana's angry grunge translated to an acoustic setting, but this performance (done in one take) exposes Cobain's songs as they really are: great melodies wrapped in a grimy layer of distortion. This performance also showcases Cobain's influence through his choice of covers: disparate artists like David Bowie, Vaselines, Meat Puppets and Leadbelly all come together under Cobain's creative umbrella: Curt and Cris Kirkwood of the Meat Puppets join Nirvana on stage for three songs, all very well played.
Cobain's own songs are really exposed as gems, some of the best written in the past 25 years: "About a Girl", "Come as You Are", "Dumb" and "Pennyroyal Tea" are especially fantastic and show just how good Cobain was. Let this album stand as an eternal tribute to not only their musical and pop sensibilities, but Nirvana's magic on stage with their "Wishkah" collection. Wonderful music.


Smells Like Rock History   October 30, 2002
 10 out of 10 found this review helpful

It has been said that the true measure of a rock band is how they play their songs acoustically. In Nirvana's case, with "MTV Unplugged in New York," this seminal rock band proved that they were indeed the cream of the crop of their generation.

Nirvana performed this intimate show in November, 1993, just months before lead singer Kurt Cobain took his own life. Cobain had been dealing with many demons or years (drug abuse, medical problems), but in this performance, it is sometimes difficult to tell. Cobain, a true musical genius who was often misunderstood by the media, was surprisingly (to some) engaging throughout the show, often making the crowd laugh through self-deprecating humor. Before David Bowie's "The Man Who Sold the World," Cobain blurted out, "I guarantee you that I will screw this song up." After the song ended, his bandmates asked what the next song was. Cobain paused, then replied excitedly, "I didn't screw it up, did I?" This was a side to Cobain that many people weren't aware of.

Nirvana's versatility showed in "MTV Unplugged in New York." From the amazing blues rock of "Plateau" and "Lake of Fire" (both written by the Meat Puppets, who guest starred in this concert) to Bowie's aforementioned glam-psychedelia of "The Man Who Sold the World" to the Vaseline's folksy "Jesus Doesn't Want Me for a Sunbeam," Cobain an friends showed that they were far more than simply a grunge band.

While it was often difficult to recognize Kurt Cobain's personal troubles during the MTV concert, his performance on the last song of the album-blues legend Leadbelly's menacing "Where Did You Sleep Last Night"- was absolutely chilling, and seemed a harbinger of events to come in the next few months. Cobain appeared to be both living and dying through the song, with his emotions gushing out of him into the lyrics. By the end of the song, Cobain was alternately screaming and whispering the lyrics, a la Jim Morrison. It was an unforgettably disturbing end to "MTV Live in New York," and one of the great moments in rock history. Unfortunately, it also marked the end of a transcendent rock band that would spawn hundreds of other rock performers throughout the 1990s.

-Marc Hurwitz


Don't Let Naysayers Detract You   April 22, 2006
 10 out of 11 found this review helpful

Yes, the performance was sponsored by MTV. Yes, MTV has done everything in their power to destroy music and turn it all into John Mayers, Dave Matthews and a million bands that all sound alike. They have ruined music to the point that they won't even play music until the early hours of the morning when no one is watching. Every reasonable person my age despises everything that MTV stands for. Be that as it may, so what?

Anyone who advises you to avoid the album because of MTV should absolutely be ignored. This is by far the best piece of music Nirvana ever put out there. Better than Nevermind, better than In Utero. Frankly, the Third Reich could have sponsored this concert and I would still listen to the album with great respect and awe. It is seriously that good. I once had an argument with a friend of mine who wondered why, when I consider Jim Morrison to be so incredibly overrated and is only celebrated becaue he died young, do I like Nirvana and Cobain so much. All I had to do was play "Where Did You Sleep Last Night" and that pretty much answered the question. Stripped bare is all the pretentiousness and self important punk (which face it, they were never punk no matter how much I love Smells Like Teen Spirit). This recording is so raw, powerful, visceral, and displays beautifully the full talent this band trully had. The show is not contrived, it is not dumbed down, and it is not somehow glossy. It is the exact opposite of everything MTV has ever produced. It is brazen, it is bold, and it is flawless.

Give it a try, I can gaurauntee it is addictive. The solo version of Pennyroyal Tea, the covers (the gospel hymn, Bowie, Ledbetter, etc.) and the work with the Meatpuppets, is all a major achievement. Nothing matches the gutting harshness and energy of the last track that always gets to me every time. It makes the original (which was done by a very talented blues musician too) seem cheap and amatuerish. If you like, love or even hate Nirvana, you still owe it to yourself to listen to this. You won't be sorry.


Consistently Amazing   April 2, 1999
 9 out of 11 found this review helpful

This is definitely one of the definitive CDs of all time. Period. Opening with the lesser-known cut of "About a Girl," from their first album, Bleach, Nirvana establishes the tone of the night, which is peaceful, heartfelt, and melodic. The second song, "Come As You Are," considered a Nirvana classic, sounds great, if not a little played out. "Jesus Don't Want Me for A Sunbeam," the Vaselines' cover, is the first absolutely spectacular piece on the CD. Kurt's low, whining voice has raw energy almost unmatched, especially in today's music. "The Man Who Sold The World," a David Bowie cover, matches "Jesus"'s intensity and sense of melody, it's truly a better version than Bowie's is. Pennyroyal Tea is a true gem. Played in a different key than it is on In Utero, "Pennyroyal" is as catchy as it ever was, demonstrating Kurt's outstanding ability as a songwriter, and, for the first time, offering a glimpse at the true energy Nirvana must have had at their live shows. The version of "Dumb" found on this album is also, without a doubt, the definitive copy. Through all the versions of "Polly" (Nevermind's album cut, the 'new wave' version on Incesticide, Wishkah's live version,) this one has the most true, raw energy. While Wishkah's version is amazing because of its always being on the verge of explosion, the version found here is splendid because of its realization of its potential. "On a Plain," wholly uninspired, is the only low point of this CD, its one good aspect is that it is truly a masterwork of a song, and, as always, incredibly catchy. "Something in the Way," slightly different from the version heard on Nevermind, is brilliant and majestic. The three Meat Puppets covers are also brilliant, especially "Plateau" and "Lake of Fire," which hit a level of catchiness and complexity almost unmatched in current music. The version of "All Apologies" heard here is the definitive version. It's obvious the song was meant to be heard purely and production-free, and it was this version which became Nirvana's second most popular song. I don't even know where to begin describing "Where Did You Sleep Last Night." The Leadbelly cover is an absolutely stunning display of the raw energy and power of Kurt's vocals. The thrilling peak at the end can not be described in words alone, and has to be heard to be believed. You can not call yourself a true music fan without owning this album.