Nirvana played Stabler Arena, Lehigh University, Bethlehem, PA on November 9, 1993.
Check it out:
Radio Friendly Unit Shifter 0:00:00
Drain you 0:05:17
Serve The Servants 0:12:10
About A Girl 0:15:34
Heart-Shaped Box 0:18:45
Come As You Are 0:28:30
Pennyroyal Tea 0:36:50
Milk It 0:46:50
Rape Me 0:50:41
Territorial Pissings 0:53:27
Smells Like Teen Spirit 0:55:37
All Apologies 1:00:49
Jesus Wants Me For A Sunbeam 1:05:50
In Bloom 1:10:10
On A Plain 1:14:39
Scentless Apprentice 1:17:50
This footage of Nirvana was shot by Dave Markey (“The Year Punk Broke”) on December 30, 1993.
Watch the group perform The Vaselines’ “Jesus,” David Bowie’s “The Man Who Sold The World” and “All Apologies.” The sound is iffy at times.
Dave Markey writes:
20 years ago tonight (December 30, 1993) I stood on Kurt’s side of the stage at my hometown’s Los Angeles Forum and captured the last set I would see of this band. A band that I had worked with, toured with; people that I would call my friends. A band that both the world and myself really loved (can’t really say this has happened since.) Within just a few short months it would sadly all be over. Sharing a few songs here; a couple covers (Vaselines’ “Jesus” & Bowie’s “Man Who Sold The World”) and All Apologies. I’m glad to have documented this show, as well as their pre-fame fun in 1991.
-– A Days of the Crazy-Wild blog post: sounds, visuals and/or news –
This year the nominations for the Rock and Roll Hall of Fame includes Nirvana, the Replacements, the Paul Butterfield Blues Band and Link Wray. Also nominated are Kiss, Hall and Oates, Chic, Deep Purple, Peter Gabriel, LL Cool J, N.W.A., Link Wray, the Meters, Linda Ronstadt, Cat Stevens, Yes and the Zombies.
Over 600 music industry players including band managers, record company executives and journalists vote for a handful of the nominees and the winners are inducted in April at an event in New York City.
James Sherry interviewed Nirvana a number of times between 1990 and 1992 for Metal Hammer magazine.
From Sherry’s new introduction to the interviews:
“It’s hard to express quite how important Nirvana were to my life and the direction it took. In the late eighties I started my first job as office junior at Metal Hammer magazine. I had my own fanzine ‘Phobia’ and I was over-flowing with enthusiasm and eager for every bit of nasty noise that came my way; ‘you used to like everything….everything’s great,’ an old work college reminded me recently. And he’s right, I loved it all.
In one of my first weeks in the office I happened upon a package of records that had been sent to the then reviews editor John Duke. He had recently left the magazine and I was charged with the job of sorting through the pile of records for review. One of the packages really caught my eye. It was from Anton at Bad Moon Publicity and had three records inside; ‘Superfuzz Bigmuff’ by Mudhoney, ‘Bleach’ by Nirvana and a Tad record which I now forget. I snuck the records home and suffice to say, they tore my little teenage mind apart.”
In an interview Krist Novoselic did for a story Rolling Stone is running about In Utero, the bass player speaks about the group’s creative process.
“There were songs that Kurt would woodshed,” Novoselic said. “He would come in with it, and we would work it out, build it up. There were songs that were made up on the spot, coming out of jams, which took a few rehearsals to come together. But they would find form. That was another thing with Kurt – he could have a riff, but then he was so good at vocal phrasing. He would usually write the lyrics at the last minute. But he was so good at vocal phrasing [in rehearsals]. And voilà – you have a song.
“Once we settled on an arrangement, we never changed anything,” Novoselic continued. “You can see that in different versions of songs we recorded [live] over the years. We never changed the arrangement. Once it was done, it was done: ‘Let’s play it.'”