Halloween’s Coming, Halloween’s Coming. Skeletons will be after you. No they won’t, but at least it gives me a half-arsed excuse to post some Nirvana on here for the first time.

I like Nirvana a lot. I’ve been going through something of a reunion with them every day in the car to work this week. They blow the cobwebs off before a hard day at the coal face, that’s for sure. Nevermind still sounds freakin’ A or awesome or whatever superlative those college frat boys would use to describe it back in the day. That the band became globally massive because of it (and ultimately why Kurt Cobain chose to blow his stupid brains out a few years later) is not up for debate. In 1991, music lovers needed something new and, unless you were Luke Haines (see Wikipedia, buy his book) Nevermind arrived at just the right moment in time. In my own wee part of the world Joe Bloggs flares had become recognised as the joke they always were. Morrissey quiffs that had already been outgrown into crappy bowl cuts (mine included) were looking for another new hairstyle to approximate. Reni hats had been put to the back of the drawer and wouldn’t see the light of day until the wattery fart that was The Second Coming.  I’m sure your own wee part of the world was no different. Nirvana’s Nevermind blew all that away. And how. But you knew that already.

I worked in Our Price when Nevermind came out. I had been there for 2 weeks. The album sold out the first day (the Our Price buying team at Head Office were notoriously frugal with first day orders – we probably had 5 copies to sell). The distributors couldn’t keep up with demand and it was a full week later before we had any more copies in stock. Round about this time, Nirvana played Glasgow University’s QM Union. An old throwback to the 70s rep visiting the store put the store manager plus 3 on the guest list for the gig. Magic. Except that the store manager didn’t want to go. “Heavy metal shite” was what he said. Seeing as he was the only driver, the fact that it would be a late show and that none of us knew anyone with a floor to go back to in the wee small hours, none of us went. I’m still pissed off about it to this day. Aye, Hollins. I’m talking about you.

Anyway…..On 31st october 1991, Halloween night itself, Nirvana found themselves playing to a hometown crowd at Seattle’s Paramount Theater. Nevermind was only about 2 months old by this point. Nirvana had just returned from a triumphant British tour (Grrr) and the band were far from the jaded, cynical version that would tour subsequent albums. Their set was captured by the sound desk in all its ragged punk glory. It was such a good set (see below) and recording that it was once mooted as an official live Nirvana release. The version of School from the show made its way onto the b-side of the Come As You Are single. If you have that at home, you’ll know how pristine, exciting and definitive a recording this is, but the rest of the tracks remained in the vaults until some enterprising bootleger liberated it and put it on the internet.

Jesus Doesn’t Want Me For A Sunbeam
Aneurysm
Drain You
School
Floyd The Barber
Smells Like Teen Spirit
About A Girl
Polly
Breed
Sliver
Love Buzz
Lithium
Been A Son
Negative Creep
On A Plain
Blew
Rape Me
Territorial Pissings
Endless, Nameless

Try before you buy – here’s mp3s of Smells Like Teen Spirit and About A Girl. Good, eh? Now get the whole shebang here.

*BONUS TRACK!

A band who’s quiffs defiantly stand proud to this day – Glasvegas do Come As You Are. Downbeat, slow and wee Glasgow ned-like in delivery, it’s something approaching aural methadone (I imagine). S’good! Here ye go.

POST SCRIPT

After Kurt Cobain killed himself, Julian Cope took out full page ads in the UK music press denouncing Courtney Love. The ads were brilliant. I’ve searched in all the darkest corners of the internet, but I can’t find a picture of any of them. I’m sure Cope wrote a whole big long rant, but I can’t find anything other than the quote I used to title this piece:

‘Free Us From Nancy Spungen-Fixated Heroin A-Holes Who Cling To Our Greatest Groups and Suck Out Their Brains.’

But, yeah, you knew that already.

I’d been meaning to re-post this excellent Beatles show a couple of weeks ago when the world was going Beatles mad and I re-posted the best of the Beatles posts I’d done, but somehow I forgot to upload it at the time and I thought, “Ach, I’ll do it later…” Spurred on by a request from reader FC3 (as well as other requests in the past) I’m re-posting it here, right now, today. The original files were deleted by persons unknown during the great DMCA clampdown of November 08. Don’t be surprised if the new files are also removed by the internet police. Act fast! What follows is the original post from November 2007  along with newly updated download links and an MP3 sample.

“WE LOVE DISTORTION!”

So sayeth John Lennon. I can’t believe I haven’t posted anything Beatles-related at all until now. This post more than makes up for it. The music contained herein is cracking. What makes it all the more amazing is that this recording is of a radio show and is over 40 years old. It’s amazing to think these recordings exist, let alone in good quality. God knows who originally recorded it, or how they recorded it, but somehow they did, and thanks to the wonders of the internet, it’s all here. First though, the history part.

In 1963, as a live phenomenon, The Beatles were at the top of their game. Their years of playing extended sets in Hamburg had taught them how to handle a crowd. Their own fantastic songwriting talent was emerging and many of these songs were yet to be committed to vinyl. In a couple of years time they would be a spent force on the live stage. Limitations in their equipment couldn’t match the increasingly bigger venues the band were playing. This show was recorded for Swedish Radio at Karplan Studios in Stockholm on October 24th 1963. It captures the Beatles playing their early 60s set, drawing on a mixture of originals and covers. From Paul’s “2, 3, 4″ count-in onwards, this set sounds like proto-punk. The playing is spot-on. The vocal harmonies are tight and Ringo’s backeat holds it all together. There’s a John one (From Me To You), a Paul one (I Saw Her Standing There), a George one (Roll Over Beethoven), a fast one (Money), a slow one (You Really Got A Hold On Me) and all the big hits (She Loves You, Twist & Shout). And it’s all in crystal clear high fidelity mp3 (!)

Hans Westman was the studio engineer for Swedish radio. “The worst recordings I’ve ever made,” he said. “Totally chaotic. No time for rehearsals.” The studio wasn’t best equipped for recording a ‘beat group’ and there were problems overcoming the UK plugs on the Vox amps. But once sorted, The Beatles simply plugged in and played. Westman couldn’t apologise enough for his poor sound, but Lennon loved this recording. “We love distortion!“ Not long before he died in1980 he said that these were the best live recordings The Beatles ever made.  And who can argue?

1. Introduction
2. I Saw Her Standing There
3. From Me To You
4. Money
5. Roll Over Beethoven
6. You Really Got A Hold On Me
7. She Loves You
8. Twist And Shout 

You need this. It’s brilliant. Try before you buy? Here‘s an mp3 of Twist & Shout. The entire show is available here as a rar file., from me to you (arf).

(Above)  back cover art (right-click and save)

(Below)Hans Westman’s original tape reel, signed by the fab four.