Nirvana's Unplugged remains one of the band's most majestic moments. Coming hot off the heels of the noisy In Utero album, the band decided to stop into MTV's studios in New York City and play an acoustic set that completely erased any notions that they were just a simple "grunge" band. Kurt Cobain seems completely relaxed throughout, and he gives some staggeringly beautiful vocal performances. Dave Grohl plays the drums with wire brushes and demonstrates that he was just as capable of subtle shading as he was at hard-hitting fury. Krist Novoselic proves himself to be a worthwhile musician as well, playing accordion on "Jesus Doen't Want Me For a Sunbeam" in additon to playing a very solid-yet-laid back acoustic bass. Add former Germs guitarist Pat Smear to the lineup, as well as a guest appearance by the Kirkwood brothers of Tempe band the Meat Puppets, and you have all of the ingredients of that legendary November 1993 night.

All of the most obvious choices from Nevermind are featured here, "Polly," and "Something in the Way" of course, but their acoustic rendering of "On a Plain" is both relevatory and surprising, since I would not have expected them to include this song, and what's more it actually works as an acoustic! The classic "Come As You Are" is given more subtlely and emotion here, and that flanged guitar solo sounds positively stunning on an acoustic (actually he was using a half-acoustic/half-electric hybrid). The band also delivers some of the most mature songs from In Utero, too. "Dumb" sounds both blissful and melancholy at the same time, "All Apologies" is one of the highlights here, and "Pennyroyal Tea" stands as one of Kurt's most emotionally naked moments (I actually like the version here better).

Like the Beatles before him, Kurt Cobain had the uncanny ability to take any cover song and make it his own. From Devo to Leadbelly, David Bowie to the Vaselines, Kurt made it sound like all of these songs were his own, and he does this beautifully here as well, especially on their rendition of Bowie's "Man Who Sold the World," and of course, Leadbelly's "Where Did You Sleep Last Night." The latter has to be one of Nirvana's most chilling moments of all time, especially near the close of the song, where Kurt is giving it his all. Then, with an impassioned cry of "SHIVEEERRRRR!" he pauses for a couple of seconds before finishing the line. At this moment, I have to say the silence is deafening and is absolutely haunting in the purest sense of the word. It seems ironic that a band who was known for noisy live performances could rip walls out (and hearts) with two seconds of silence. This, if nothing else, stands as a testament to Nirvana's gifts.

As life affirming as this can be to listen to, sometimes it can also be quite sad knowing that this is ultimately the last word from Nirvana before Kurt's untimely death. But if this was the band's (and Kurt's) swan song, it is certainly the best finale that one can have, and I would certainly want something this beautiful to be my farewell, too. Even ten years later (God, has it been that long already?), Nirvana's Unplugged session remains as fresh as it was at the time, and stands as one of their very best live performances (as well as their most unique). Whether you are a casual fan or a diehard, this album is not to be missed and you are doing yourself a grave injustice if you skip out. This isn't just an Unplugged session, it is an experience.

November of 1994 saw the release of Nirvana's first posthumous album, "MTV Unplugged in New York." The album was recorded just six months before the death of Kurt Cobain and released just six months after. Much like John Lennon's "Double Fantasy," (1980) it's hard to listen to the album and take it out of the context surrounding its tragic circumstances.

"MTV Unplugged in New York City" would be a somber enough album as is, but considering Cobain died shortly after it was recorded, the album takes on special meaning. The album possesses the tone and atmosphere of a funeral, although it's not so depressing that it becomes unlistenable. Rather, "MTV Unplugged in New York City" serves as a tribute and memorial to one of rock's most talented musicians. Much like "Double Fantasy," "MTV Unplugged in New York City" serves as an artist's bittersweet goodbye.

The Nirvana power trio of Cobain, (guitar, vocals) Dave Grohl, (drums, bass) and Krist Novoselic (bass, accordion, guitar) is joined by Pat Smear (guitar). Lori Goldston (cello) joins the band for many of the songs. Curt and Cris Kirkwood (guitar, bass) of the Meat Puppets join the band for three renditions of songs from the Meat Puppets "Meat Puppets II" (1984). A second guitar player thickens the sound and leaves Cobain free to solo. The added cello works very nicely, enhancing and enriching the songs. The added cello especially shines in "Pennyroyal Tea" and "Something in the way."

Stripped down renditions of songs from Nirvana's three albums, "Bleach," (1989) "Nevermind," (1991) and "In Utero," (1993) offer a subtler, but equally exciting take on the classics. While unplugged versions of songs can often yield mixed results, nothing is lost in the sparseness of these renditions.

There are several cover songs on this recording by artists including the Vaselines, the Meat Puppets, Leadbelly and David Bowie. Nirvana's adaptations of these songs match, perhaps even outshine the originals. As others have pointed out, Cobain takes other artists songs and makes them his own. While the album is interspersed with cover songs, nothing ever seems out of place. The album has an easygoing, soothing flow which never gets monotonous. It's the type of album that you can listen to again once you are finished.

"MTV Unplugged in New York City" was recorded live at Sony Music Studios on November 18, 1993. In front of an audience and off-the-cuff, "MTV Unplugged in New York City" offers a rare glimpse into whom Cobain was as a person. His chatter with the band and his interaction with the audience show him to be sensitive, articulate, meticulous, humble, and not without a sense of humor.

It's hard to listen to this album and not have Cobain's imminent suicide on the back of ones mind. "All Apologies" sounds especially poignant when placed in this context, knowing how much pain Cobain must have felt while performing.

While Cobain's early death was a great loss, his legacy and genius is immortalized on this recording. With "MTV Unplugged in New York City," Cobain should not be mourned, but rather his life and his music should be celebrated. This recording serves as a fitting epithet to one of rocks most tortured, genuine and gifted talents.

Hmmm....where does one start? Well, let's start by saying this; this album is one of the greatest albums ever, if not the greatest. Have you ever heard a song that you can hear a thousand times, yet never get sick of? We all have; but have you ever had an entire album that does that to you? Probably not. Kurt Cobain's talent was, to say the least, beyond anything mortal. It's just that it was always masked by the fury of punk; but you could still see right through that. "Smells Like Teen Spirit" is one of the biggest songs ever, it launched Nirvana right out of this world; yet they didn't even play it. Just as well too, none of these songs are upbeat. Hearing "Come As You Are" in it's acoustic form is haunting, Kurt's guitar solo is practicly weeping; I gaurantee you you'll want to weep after hearing these songs. "Something In The Way" is dark and lush; which might be the two best words to describe the album, dark and lush. "About A Girl" is very beautiful, everything about it is perfect; just like the album. "Jesus Don't Want Me For A Sunbeam" is very mellow, the accordian migh seem weird for them, but it fits in beautifully. "Dumb" is anything but, Kurt should have retitled it "Genius". "Polly" and "On A Plain" are too much for words, especially "Polly". The covers of the Meat Puppets' songs are amazing, "Lake Of Fire" being the best. "All Apologies" is really sad, the end of it holds your breath. 'All In All Is All We Are' is one of the greatest lines in a song I have heard (my friend said if you listen carefully Kurt changes it to 'All Alone' a couple of times, he's right), the way Kurt keeps repeating it over and over. The final song, "Where Did You Sleep Last Night", sends chills up my spine. At the end of the song Kurt starts screaming, he stops, sighs, then carries on. Afterwords your jaw is left on the floor. The cello throughout the songs gives them all a more haunting feel then they already have, a nice touch. Sadly enough, these songs of depression were no idle threat. You can't listen to this album and not feel like crying, I think it's impossible. This album is perfect, anyway you look at it, not one bad song here. I also recommend getting Tori Amos' cover of "Smells Like Teen Spirit", it has the same kind of feel of this album.I'm not one to say what you should or shouldn't buy, but you need this album; break your piggy bank if you have to. This is a classic, and it has raised the bar to a height which isn't gonna be surpassed in our lifetime.

Although Nirvana's studio work was great (particularly In Utero), this live album of November 1993 solidified the band's legend.

The concept behind Unplugged was decidedly unusual. Here was an intense, loud punk band from Seattle playing acoustic. An odd concept indeed, but Cobain, Grohl, and Novoselic were more than up to the task with a beautiful 14-song set. To my knowledge, Nirvana was the first to play an entire Unplugged session in a single take, which makes the quality of the performance all the more remarkable.

Instead of just playing a list of popular hits (as Alice In Chains did in the Unplugged format), Kurt decided to pay homage to the band's indie roots with covers of the Vaselines (Jesus Doesn't Want Me For A Sunbeam), David Bowie (The Man Who Sold The World, featuring the only plugged guitar), and three selections from Meat Puppets II (Plateau, Oh Me, Lake Of Fire). All of these renditions are pure gold, and I consider them superior to the originals.

Their studio work takes on a new dimension without the electric distortion. About A Girl sends shivers up my spine, Come As You Are sounds even more impressive acoustic, Dumb is filled with beautiful stringwork, Pennyroyal Tea becomes a haunting solo ballad, and All Apologies changes from raw to meloncholy. Most of these songs are at least equivalent to the studio versions, with All Apologies being much better than the harsh In Utero version.

The best track of all though is the unforgettable Where Did You Sleep Last Night. In this Leadbelly cover, Kurt lets all the feeling hit home, especially toward the end with his piercing screams. I've never heard a more emotional song in my life, and I always shed a tear listening to it.

This one ranks as the best live album of the 1990's and among the best ever. If you love Nirvana, definitely buy this one. If you never considered buying a Nirvana album, this one will make you a fan. Trust me.

----RIP Kurt----

While working in my late twenties for 2 years in one of Seattle's largest music stores, I learned alot about the way people were affected by Kurt Cobain just by watching the sales of this CD.

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.