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And he translated that into live shows of chest compressive volume, politicized rage and the powerful chemistry between him and the members of Crazy Horse. At the time, Young was being inspired by the twisty art rock of Sonic Youth and the hopped-up garage rock of his own youth. Not for nothing is the band pictured on the front cover performing next to some comically huge Fender amps. As he told biographer Jimmy McDonough, “I hurt my ears and they’ll never be the same again.” Weld is a loud document of some truly loud rock concerts. Maybe all you need to know about Weld, the live album by Neil Young and Crazy Horse that compiled performances from the band’s tour for Ragged Glory, is that Young permanently damaged his hearing mixing it. As for Mascis, there’s a certain endearing tension between the artistry and skill of his guitar wizardry and the couldn’t-possibly-care-less mumble of his vocals. The ripping single “The Wagon” deservedly helped the group catch the ear of MTV, while psychedelic dalliances like “Flying Cloud” and “Thumb” broadened the band’s sound with acoustic guitars and ringing mellotrons.
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Mascis had always been a consummate melodicist of the ’80s underground, but Green Mind was the first Dino album where the melodies weren’t buried beneath ear-bleeding feedback and sludge. Green Mind is essentially a solo record-after the acrimonious firing of Lou Barlow, Mascis evidently realized he could avoid creative squabbles by playing nearly every instrument himself, employing the services of drummer Murph on just a few tracks. Robert Hamįor years, the prevailing hipster wisdom was that Dinosaur Jr.’s major label records are J Mascis solo albums in all but name and not worth your time. The trick is that you need the blurry, bright highs that the rest of the album provides to truly appreciate the come-down. The payoff was buried in the hidden tracks on the CD version: “Car Wash Hair,” a Dean Wareham-assisted love song that was lucid and sensual. There’s beauty and majesty throughout, presaging the more accessible sound of Deserter’s Songs, but it’s often undercut with ugliness or twisted into disturbing shapes. The success of grunge sent shockwaves through the music industry as A&R reps found an opening to help some truly oddball bands get major label money-all with the promise that they had found “the next Nirvana.” How then to explain the arrival of Yerself Is Steam on Columbia Records four months before Nevermind? The debut album from Buffalo, New York band Mercury Rev is an uncompromising slab of neo-psychedelia, with guitar feedback and devastating volume that gush like a waterfall over spiraling flute melodies and the freeform poetic squeaks and groans of vocalist David Baker. Its New York no-wave and art-rock inspirations are made clear, distancing itself from the more conventional rock releases of the time and creating one of the most poignant feminist works alongside the likes of Patti Smith and Sylvia Plath. Although Love has distanced herself from the record, it still holds up as an uncompromising look into pain disguised as abrasive noise with a beauty resting underneath that Love, or rather the album’s unnamed narrator, cannot see. Love’s dissections of womanhood are beautifully disgusting as they come together like a haunted Victorian painting, or rather a postmodern feminist critique that is as bleak as it is profound. Hole: Pretty on the InsideĬourtney Love is one of the most reviled figures in music, a conversation that does not leave much room for her compelling artistry as lead singer and rhythm guitarist of Hole. The Paste staff and writers has looked back 30 years and voted on our 30 favorite albums of 1991. And several bands proved you didn’t need a big budget or radio airplay to produce amazing music. were making the most of their newfound superstardom. My Bloody Valentine and A Tribe Called Quest both released their masterpieces. It wasn’t until the following year when several singles took off that record label execs were trying to sign every grunge-adjacent act in America, and Weird Al was singing, “It’s hard to bargle nawdle zouss/With all these marbles in my mouth.” But there was plenty of other great music to be found as the 1990s began to take shape. We think of 1991 as the year when the Seattle scene and its grunge phenomenon took over the rock world, but neither Pearl Jam’s Ten nor Nirvana’s Nevermind were immediate hits.