Dinosaur Jr.'s mix of Neil Young-style country rock, Sabbath doom and hardcore punk -- along with J Mascis' consistently mind-blowing guitar and laid-back whine -- was truly unique in '80s underground music. A major influence on countless bands to come (most notably Nirvana), Dinosaur's first three records combined metal and punk in a way no one had even attempted since Black Flag's My War, and they introduced the quiet/loud move that defined grunge. With squalling feedback, onion-peeling sheets of distortion and the ability to shred on a hair-metal level, Mascis was the guitar god of the indie-rock era and basically threw punk's "primitive" aesthetic out the window. In 1988, bassist and future Sebadoh founder Lou Barlow left amid mounting tension with Mascis, just as the band was breaking nationally. Green Mind, released in 1991 and featuring unprecedented amounts of melody and less ugly noise than before, made Mascis the first semi-star of indie rock. The band remained in the public consciousness until the late '90s, when Mascis turned his attention to other projects (Witch, Sweet Apple). Barlow rejoined in 2005, and the band returned to both recording and touring.
Dinosaur Jr. Concert Films
Bug Live at 9:30 Club: In the Hands of the Fans
Runtime: 1 hr 3 minThrough an online contest, six fans are selected to film Dinosaur Jr. performing ""Bug"" in its entirety at the 9:30 Club in Washington DC, June 2011. Experience the fans' joy as they witness a classic performance and meet their heroes face to face in an exclusive interview with the band. Under the awesome direction of Dave Markey (The Year Punk Broke), ""In the Hands of the Fans"" brings the fans closer to the band and the music closer to you. Includes bonus footage of Henry Rollins speaking candidly to Markey about the the band, and interviewing them on stage before the show.
Dinosaur Jr. Top Tracks
Runtime: 1 hr 17 minFilmed live on Halloween night 2009 at Voodoo Experience in New Orleans, Live Voodoo sees the reunion of the classic Jane's Addiction line-up of Perry Farrell (vocals), Stephen Perkins (drums), Eric Avery (bass) and Dave Navarro (guitar). This spectacular show captures the band on top form with Perry Farrell at his most mesmerizing and the rest of the band clearly enjoying the occasion. The tracklisting is predominantly drawn from their first two albums, which both featured this line-up, and the band are joined on stage by twin girl dancers, whilst the show climaxes with a joyous all singing and dancing stage invasion.
Live At The Paramount
Runtime: 1 hr 11 minFive weeks after releasing what was to become the seminal album of a generation, Nirvana was on a nationwide club and small theatre tour that brought them to Seattle’s Paramount Theatre for a very special Halloween 1991 homecoming show. Launching the nineteen song set with a brilliant cover of the Vaselines’ “Jesus Doesn’t Want Me For A Sunbeam,” the band tears through Nevermind hits like “Smells Like Teen Spirit,” “Lithium” and “Breed,” plus earlier favorites like “School,” “Love Buzz” and “About A Girl” and a very early version of “Rape Me.”
Live at Soundstage
Runtime: 40 minQuintessential alternative rockers, Sonic Youth, celebrate free-form experimentalism while reinforcing their performance-art driven tradition in this Soundstage performance. The band, which settles just outside the realm of definition, delivers a part rock, part free-form noise, part avant-garde punk performance which features a new song "Sympathy for the Strawberry."
Live at Spiegeltent Festival
Runtime: 1 hr 11 minAs the Godfather of alt-rock and founder and frontman of Dinosaur Jr., J Mascis hardly needs an introduction. Touring on the back of his first solo studio album, Several Shades of Why, Mascis delivers his trademark laconic guitar riffs with an acoustic delicacy. With beautiful, raw vocals sung in his signature style, this is J Mascis laid bare.
Color Me Obsessed
Runtime: 2 hr 3 minFor some aging music fans and kids with a passion for musical history, The Replacements are rock and roll defined. This Minneapolis quartet took a teenage-punk attitude, threw it in a blender with classic and pop rock, and then poured it into a Middle American pint glass. Over the band's 12-year existence, its live sets were magical, a total mess, or both-depending on your mood and the members' respective blood alcohol levels. Gorman Bechard's remarkable history of the 'Mats takes us from their first show as the Impediments to their 1991 onstage breakup in Chicago, and everywhere in between. Bechard bravely eschews including the band's music, photos, and live footage, instead relying solely on the fans: their well-kept memories, hilarious anecdotes, and differing points of views about the foursome's wildly varied discography and infamous antics. Bechard has recruited an impressive roster of influential fans: musicians such as Husker Du, Babes in Toyland, The Decemberists, The Hold Steady, Archers of Loaf, Titus Andronicus, and Goo Goo Dolls; writers such as Jack Rabid, Legs McNeil, Robert Christgau, Jim DeRogatis, and Greg Kot; and actors such as George Wendt, Tom Arnold, and Dave Foley. Sprinkled in among that esteemed group are the more mainstream fans, who often give the most insightful and heartfelt perspectives of all. Follower or not, after taking in COLOR ME OBSESSED, you'll be ready to run home, gather some 'Mats albums, and design a perfect soundtrack of your own.
Busted Circuits and Ringing Ears
Runtime: 1 hr 30 minThis film spans the entire career of Tad, featuring archival live footage, interviews, music videos, and lost footage, as well as new footage and interviews with the band members and Krist Novoselic (Nirvana), Mark Arm (Mudhoney), Kim Thayil (Soundgarden), Chad Channing (Nirvana), and many others. TAD took the idea of playing LIVE very seriously; it was a life or death matter. This documentary not only stands as testimony, but it's also a cinematic document of the world's HEAVIEST band EVER (as Bruce Pavitt so incisively puts it) boldly stretching that assertion beyond any previously known limitations. Better than a tattoo, it's an open scar that roars, a broken alarm bell ringing from the lost event horizon of a long-dead star, one would never see - that is, until this film clipped it back onto the light box of the silver screen, where it can be deciphered and viewed anew. This documentary telescopes the musical pathology of Tad down to the image of an electrocardiograph recording the minor-mode melody of a final infarct, a demented soundtrack that is neither tame nor de-clawed. It was never meant to be. Dare to feel it, and risk bleeding internally.