Chewing Pine

Nirvana – Unplugged in New York (Geffen, 2007)

No one wants to hear this, but to a certain extent, this performance being released on DVD really doesn’t matter. The cultural impact, while probably continuing to be inspiring in one way or another to disaffected youth, has been felt. Whether or not this performance is comparable to any actual studio album of the trio is subject to debate. But, perhaps the Incestiside albums function in the same manner that this disc/release works.

Of course, the band runs through now classics, but not necessarily their hit singles, save for “Come as You Are”. A variety of people, not a part of the Nevermind crew, affect this performance in untold ways. Arguably the most important, Pat Smear joined Nirvana after being contacted by Cobain while working at a record store in L.A. Who cares you ask? Well, no one will ever fault Smear for being a virtuoso, but his efforts with Lorna Doom and Darby Crash worked the minds of kids maybe almost as much as any other L.A. band. And that’s why he was brought into the fold. But simply his presence and the initial shock of being a viewer of this televised event, wondering and eventually finding out who he was, changed the listening habits of innumerable teens following this performance.

Two Brothers enter the frame for a few songs from an album simply titled II. Now, arguments may follow regarding the most forward thinking independent record of the ‘80s, but amongst the pontificating of that discussion would no doubt be a mention of II, which the brothers Kirkwood came to perform with Nirvana on that night. Again, the introduction of a still vital band, although seemingly commercially un-viable, on national television had incalculable impact on viewers, kids in general and the Meat Puppets themselves.

The collaboration on “Plateau”, “Oh, Me” and “Lake of Fire” instantly shows that not only was Cobain a voracious fan of the Puppets, but music in general. In addition to the exposure that the brothers were given, Cobain plays a selection by a Scottish band called the Vaselines. Oddly enough, the label that helped Nirvana on their way, Sub Pop, two years previous to this performance, released a compilation of their work.

Aside from the music on here, which is obviously sought after enough for bootleg versions of the performance to circulate on eBay, audiences were given a glimpse into the mood of Cobain. He’s occasionally funny, telling the crowd that they can wait as he begins a song in a key he hasn’t necessarily rehearsed. But he also seems rather confident and comfortable with his musical buddies. There are moments, during close ups, when perhaps he looks a bit shaky and no one will really know exactly what to attribute that to: drugs or nerves.

That answer doesn’t relay matter, nor does the debate that this release will no doubt re-kindle regarding Cobain’s and Nirvana’s direction in the event that he past up suicide and continued on. This is simply a document of a musician, who for a time was able to capture the world with his simple songs. And unfortunately there won’t be anymore.