Guest
Songwriter: Kurt Cobain Writing Period: Fall 1990 - Winter 1991 Recording Session: 03/09/91 BBC Maida Vale Studios, London, UK Alternate/Working Titles: Noise - Secret Song Common Mislabels: The Noise Jam - Guitar Demolition - 13:54 - Sorry Ma'am - Summer - The End of Music - End of Concert - Demolition - Destruction - Gallons of Rubbing Alcohol Flow Through the Strip - Come on Death - Endless-Nameless - Endless-Nameness - Here I Am - Improvisation - Meltdown - No Title as Yet - Secret - She Said... - Untitled - Burn Out NIRVANA's third and final Peel session was recorded using MV5 as the control room and MV4 as the studio. The band had arrived from the continent and were very tired. Session producer Dale Griffin recalls, “Dave and Krist were in another world. They looked drained, zombified, tired beyond all help. But Kurt looked far, far worse. I made a bee-line for him. I had worried after session two about how would cope with The Big Time and he looked to me like something about The Big Time wasn't agreeing with him.“ “I stood two inches from his his face and spoke to him, but his eyes didn't see me, nor did his ears hear me. He hadn't a clue who the hell I was. We decided to let the guys rest, whilst their crew assembled their equipment and Fred (who is a woman) and Mike set up mics and inserted cables and plugged-up compressors, limiters, effects units, reverb, delays, repeats... fairy dust as it's called in the trade. Kurt fell asleep on the big couch at the back of the recording console.“ But talking with Cobain proved difficult, “For a start, he obviously had no idea who the old fart talking to him could possibly be—so I brought up our previous sessions/meetings—but to no avail. The look of him—his eyes, his pallor, his lack of focus worried me greatly, since it reminded me so keenly and, in retrospect, so poignantly, of the later days of Paul Kossoff's life [lead-guitarist with '60s British rock band, Free]; It was a hateful thing to see a young man like Koss wishing his life away on the dross of drugs. I hated to think that the same thing was happening to this likeable and highly talented young American, who was standing so unsteadily just inches from my gaze. I started to ask him whether he felt able to attempt the session today. 'Sure, why not!' was his swift reply, though his words were not backed-up by his body's language, like his legs uncertain ability to hold him up for any great period of time. The more we spoke, the more concerned I became that it wasn't fatigue alone that had rendered Kurt almost helpless.“ from Disc 2 of “With the Lights Out“ Lyrics Hey man, save me Do you care?, save me Here I am Here I am Here I am Here I am Mama, papa Mama, papa Sorry man, here I am Save me, do you care? Save me, do you care? Save me, here I am I think I'm turning Japanese, I really think so I think I'm turning Japanese, I really think so
