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  • Terminal Band -12.04
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    [ Dinosaur Jr. ]

    Dinosaur Jr. - You're Living All Over Me

      Dinosaur Jr. - You're Living All Over Me  

    1987! What was going on in the music world? Glam Metal ruled the J.Crew metalheads, The real metal fans were feasting on Master of Puppets, Pop fans were eating up U2,REM, and Madonna. The New York Hard Core scene was gaining strength.

    But in New England, three lonely insecure guys were writing one of the greatest records of all time. J. Masic, Low Barlow, and Murph were smashing away at their instruments creating , You're Living All Over Me.

    Lou Barlow's Distored Rickenbackers and powerful chords.

    Mascis' Overdriven Les Pauls, overdubbed feedback and swirling messes.

    Murph's thundering stomping drums.

    All topped of by the whining voice of king of the inferiority complex, J. Mascis. You're Living All Over Me is by far Dinosaur Jr's finest achievement. Sure, J. Masics has achieved a bit of success with Where You Been and that other record everyone else liked. And Lou Barlow went on to form one of Indie Rock's best, Sebadoh. Even Murph, went onto play on Ex-Jane's Addiction member's, Dave Navarro and Eric Avery, side project Deconstruction.

    But the three fellas from Massachusetts owe all the above success to this record. SST's 130th release put Dinosaur Jr on the map enabling them to write songs and make records inspiring artists of all genres. Even Cowboy Junkies covered a Dinosaur Jr song, Post. (Post is on Dinosaur Jr's 1989 release Bug.)

    Dinosaur Jr's reckless abandonment towards their material's presentation on You're Living All Over Me makes this record so unparalleled. They held nothing back; they didn't try anything fancy; they just wrote 9 amazing songs and went for it.

    Raisin's final verse sums up J. and the Gang best: "I'll be down, I'll be around, I'll be hangin' where eventually you'll have to be And when I'm met You're standin' there, And I'll have to decide the fate of my sanity. "

    1. Little Fury Things
    The first step in the journey through Dinosaur's finest hour. The beginning few measures are disturbing and loud with wailing wah-wah guitar and screaming vocals (A). But the song settles down into a nice calm chord progression touched up nicely with a dash of syncopation (B).The first verse continues with the clam setting of the chorus (C), but steadily builds into a nicely constructed bridge complete with tambourine, driving chords and an arpeggiated guitar part. The bridge ends with every hard rock fan's favorite, the trio chunks out the same rhythm ending with a whammy bar dive (D) back into the first verseto endthesong(B).
    song structure:A-B-C-D-B

    2. Kracked
    Kracked starts off with Lou Barlow pounding 16th notes on his bass and J. joins with a counter melody similar to Forget the Swan off of Dinosaur, their first record (A).The verse slows allowing J. to concentrate on singing. A nicely arpeggiated chord progression (B). The trio then all bangs into the 16th note riff Lou started the song off with. They then explode into J.'s first solo of the record. A wah-wah rich solo full of groaning bends and minimal phrasing (C). The solo concludes and Lou carries with the verse bassline and J. sprinkles a skeleton version of the same chord progression (D). After a small interlude, they go back into the chorus to end the song (B). song structure: A-B-C-D-B

    3. Sludgefeast
    Sludgefeast, the most complex and arranged song on the record, opens with as mall hum of guitar feedback resonating on a C#. and a two chord progression intro (A) which then gives way to a headbobbing theme laced with a softly spoken guitar line based mostly around a D major chord (B).

    The verse is based around two chords repeated (F#min and Amaj) and a third chord (Bmaj) to break up the lyrics a bit. (C).

    They then go into a drawn out solo (D) which travels back into section (B), but this time around the softly spoken guitar is boisterous and complaining. After one more trip through the verse, the song takes a completely different form and introduces a more heavy metal theme (E5, F#5, G5) .

    J. and the gang just go balls out while J. rips off one of the more successful solos on the record.
    song structure: A-B-C- D-B-C-feedback E

    4. The Lung

    5. Raisins
    Raisins comes closest to a pop song than any other song on the record. The song begins with all three members and just rips into the main chord progression of the song (A). J. then sings the first verse in front of a solid background of power chords and cymbals. They then divulge one of their big influences, the Cure. They have a small errie breakdown just before the rip roaring anthem of the song (C). After the chorus, they send the listener down an even darker errier path than the first break down. A thicket of voices and feedback (F).

    Again the chorus (D), and J. rips into the most memorable solo of the record. A well-phrased dialog based on the initial chord progression leads to the final chorus(G).And they end the song with a heartfelt chorus (D). Although the song construction maybe simple, Raisins stands strong because of the lryics. For the first time on the record, J. emphasizes the words he wrote rather than the interesting riff he created.
    Song structure: A-B-C-D-E- F-D-G-D

    6. Tarpit

    7. In a Jar

    8. Lose

    9. Poledo

    bonus track Show me the Way- Peter Framton.

    Written By: Geoff T.