![]() ![]() Taken as a whole, they showcase the album in a different light, one that hardcore fans may prefer. Previously available as the semi-bootleg Blow Job (available to fan club members - or as a bootleg), these versions are very raw and heavy on noise, often concluding in chaotic feedback jams. The eight-track demos, in particular, are worthwhile. [The deluxe edition features remastered sound and lots of bonus material, including outtakes, B-sides, rehearsal recordings, and a bunch of eight-track demos produced by J Mascis and Don Fleming. Even Public Enemy's Chuck D joins the fracas on the single 'Kool Thing,' which teeters on the brink of a cultural breakthrough but falls just shy of the mark the same could be said of Goo itself - by no means a sellout, it nevertheless lacks the coherence and force of the group's finest work, and the opportunity to violently rattle the mainstream cage slips. ![]() While paling in the shadow of its predecessor, the record is nevertheless a defiant call to arms against mainstream musical values the Geffen logo adorning the disc is a moot point - Goo is, if anything, a portrait of Sonic Youth at their most self-indulgently noisy and contentious, covering topics ranging from Karen Carpenter ('Tunic') to UFOs ('Disappearer') to dating Jesus' mom ('Mary-Christ'). Review by Jason Ankeny Any doubts as to the continuing relevance of Sonic Youth upon their jump to major-label status were quickly laid to rest by Goo, their follow-up to the monumental Daydream Nation. Early in their career, Sonic Youth were associated with the no wave art and music scene in New York City, but they have outlasted most associated bands. The band consists of Thurston Moore (guitar, vocals, bass), Kim Gordon (bass, vocals, guitar), Lee Ranaldo (guitar, vocals, electric drill), Steve Shelley (drums) and Mark Ibold (bass). ![]()
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