Vote Nirvana this Election Day. On Tuesday, the band’s seminal first record, Bleach, gets the 20th anniversary reissue treatment from Sub Pop on both CD and white vinyl. And its “I was there!” (and we all know you’re lying) 1992 Reading Festival show hits both CD and DVD shelves. Oh, and you can watch the latter on Fuse (Comcast channel 476) at 8pm. How’s that for bipartisan?
“This is too painful,” says a lean, towering Krist Novoselic into a stage-right microphone. Then he shifts from mock compassion to mock reassurance: “You’re gonna make it, man.”
He’s talking to a frail, blonde fright-wig- and hospital gown-wearing Kurt Cobain—and to the thousands assembled at the 1992 Reading Festival—who’s being ushered to his own mic via wheelchair. The Nirvana singer grabs the mic with jittery hands and feebly pulls himself up. The chair’s pilot, British rock journalist Everett True, rolls it away.
“Some say love,” Cobain croaks, “It is a river …” And he falls flat on his back.
Somewhere behind him on the huge airplane-hangar stage, Dave Grohl punctuates the faux faint with a heavy, staccato drum flourish.
This is the ironic, winking opening of Nirvana Live at Reading, a long-overdue, never before complete document of the band’s ability to wryly enjoy the music and the hype they created. However briefly they could.
Watching Kurt Cobain poke fun at his overblown, distressed media image and then tear into what would become the most storied show of Nirvana’s abbreviated existence is somehow, 15 years after his death, still a bitter pill to swallow. From the moment he dons a guitar and effortlessly forces the instrument into a tortured squeal, you want the real guy back. Not his likeness in a stupid video game.
But the Reading show is the closest we’ll get to a living, breathing Cobain, and, I think, to actually seeing how he viewed his career and fame. It’s also perhaps the best Nirvana performance—in a studio or on a stage—we’ll ever hear.
As the band tears through most of Nevermind‘s already-iconic tracks (only skipping “Something In The Way”), its frontman appears healthy, engaged, and enthused. Until Cobain dedicates “All Apologies” to his divisive wife Courtney Love, encouraging the massive crowd to overlook the “crazy stuff” they may have read about her and chant, “Courtney, we love you!”, there’s no physical sign—other than that opening jab at the media—of his pain, addiction, or irritations.
Cobain displays, through fleeting gestures and performance techniques, many sides of his chameleon personality in the two-hour set. He enthusiastically jumps around with his guitar through “Aneurysm” and employs a casual axe-slinging swagger in “School.” The singer screws with his vocal inflection for the verses of “Sliver.” He clears his throat after the first line of “In Bloom,” then completes the song with what has to be an intentional, extra-gravelly monotone. As he and Novoselic tease the opening of “Smells Like Teen Spirit,” the frontman shoots the bassist a knowing smirk. (It’s the closest Cobain gets to smiling, which Novoselic and Grohl do, with obvious aplomb, throughout.) He dumps his guitar on the stage during an extended “Love Buzz” jam. The man never takes off that hospital gown.
And after he tags a brilliant, Hendrix-style “Star-Spangled Banner” to the end of closer “Territorial Pissings,” Cobain calmly knocks over speaker stands with his guitar’s neck, climbs down off the stage, and hands the still-wailing instrument to the crowd. Cobain, it appears, in the midst of personal struggles and media-magnified drama, thoroughly enjoyed this performance.
I can’t imagine any rock music fan who won’t feel the same way. This is a legendary band at its best, with its fast-burning fuse at its brightest. Add a vivid film-to-video transfer, classic music video-style editing, Technicolor stage lights, and original, freshly mastered, multi-track audio, and Nirvana Live at Reading is the best means we have to celebrate what the band was—and wonder what it could have become.
Never was a huge In Bloom fan until I heard this version it. It always seemed over produced on Nevermind and I think that this is more the sound that Kurt was going for. Enjoyed the article – this is Nirvana at their best.