Goo (2016 Remaster) Sonic Youth

• 1 Dirty Boots 05:30
• 2 Tunic (Song For Karen) 06:22
• 3 Mary-Christ 03:12
• 4 Kool Thing 04:06
• 5 Mote 07:37
• 6 My Friend Goo 02:20
• 7 Disappearer 05:08
• 8 Mildred Pierce 02:14
• 9 Cinderella's Big Score 05:55
• 10 Scooter And Jinx 01:05
• 11 Titanium Expose 06:28
• Total Runtime 49:57

Info for Goo (2016 Remaster)

„Goo“ was Sonic Youth's major label debut and allowed the band to blend its skewed sense of aesthetic and cultural criticism into a more understandable stab at pop culture. „Goo“ unleashed the band's ability to create monster riffs out of fuzzy, unlikely tunings, while bringing their once aloof songwriting into a more pop-sensitive light.

Goo's stunning collection of material once again highlighted Sonic Youth's unique writing talents. 'Dirty Boots' and 'Mary Christ' showed Thurston Moore's delicious slant on rock melody. Yet it was Kim Gordon who stole the show with her chilling 'Tunic (Song For Karen)' and the brilliant 'Kool Thing.'

In 'Tunic,' Gordon wrapped her cunning insight around the Karen Carpenter story: 'I feel like I'm disappearing/Getting smaller every day/But I look in the mirror/And I'm getting bigger in every way...' The song was one of the album's many attempts at understanding the mechanics of pop stardom. 'Kool Thing' summed up rock's once blatant 'fear of a female planet' by placing women rockers in a rap context. 'Are you going to liberate us girls/From male, white, corporate oppression?' Gordon toyed, saying more in her deadpan delivery than years of articles on women in rock or rap combined.

„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. 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'). 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 by.“ (Jason Ankeny, AMG)

Thurston Moore, vocals, guitar
Lee Ranaldo, guitar, vocals
Kim Gordon, vocals, bass guitar
Steve Shelley, drums, percussion
Additional musicians:
J Mascis, backing vocals (tracks 2, 5 and 6)
Don Fleming, backing vocals (tracks 1 and 7)
Chuck D, additional vocals (track 4)

Recorded March–April 1990 at Sorcerer Sound Recording Studios and Greene St. Recording, New York City, NY
Engineered and mixed by Ron Saint Germain
Produced by Nick Sansano Ron Saint Germain Sonic Youth

Digitally remastered

Sonic Youth
began way back in 1980 in the downtown disaster unit of NYC. First three records (Sonic Youth, Confusion is Sex, Kill Yr Idols) began in 1981 on the Neutral label started by Glenn Branca. They then signed to Gerard Cosloy’s Homestead imprint releasing Bad Moon Rising and the Flower/Halloween 12” to universal intrigue and acclaim. They switched labels to release records (Sister, Evol) on SST, the Southern California label overseen by Greg Ginn of Black Flag, while Mr. Cosloy went on to join Matador Records with Chris Lombardi. Concurrently they established a relationship with Paul Smith and Blast First Records in the UK co-releasing the Homestead and SST titles and culminating with the massive end of the decade double LP Daydream Nation, since added to the National Recording Registry at the Library of Congress. The band signed to DGC/Geffen in 1990 and began an ascendant affair there releasing Goo and Dirty to much heated excitement until the label became a scattered asylum. They continued to release strange, out-of –step recordings with Geffen throughout the 90s and early 2000s. Young wizard Jim O’Rourke came on board with the band as a multi-instrumentalist/producer collaborating on two of their most progressive LPS to date, Murray Street and Sonic Nurse, as well as the ongoing series of experimental LPs on the bands own SYR imprint. After Jim’s departure, and after releasing Rather Ripped, their final statement on Geffen (and which ranked third in Rolling Stone's Top 50 Albums of 2006) the band recruited their pal from compatriot 90s band Pavement, Mark Ibold, to play bass. After a solid bout of touring Mark joined the band in the recording of The Eternal. The cover art is a painting by the late, great American folk artist John Fahey. This is where we live forever. Sweet dreams…

This album contains no booklet.