DINOSAUR JR, YOU'RE LIVING ALL OVER ME '87 VINYL NM SHRNKWRP, SST 130, Red Label

$

35

DINOSAUR JR, YOU'RE LIVING ALL OVER ME '87 VINYL NM SHRNKWRP SST130 Red Label

Album was originally issued with the original band name 'Dinosaur' on the cover. After the band changed its name, subsequent pressings were issued with the new band name 'Dinosaur jr.' on the cover.

The newer pressings maintain the same catalog# as the older pressings but has a Barcode printed on the back cover. This versions label has red labels/black lettering. There is another of the same pressing with a black label and red lettering that is more commonly found.

Label, SST Records ?– SST 130

Released in 1987

RECORD CONDITION / NM, listen-tested, a lot of the record plays at MINT level.

JACKET CONDITION / NM, still in shrink-wrap, has not affected record in any way

***INCLUDES ORIGINAL SST RECORDS FOLD OUT CATALOG, PLEASE SEE PHOTOS (will be placed inside jacket)***

includes plain-record-sleeve

TRACK LISTING:

A1

Little Fury Things

3:05

A2

Kracked

2:51

A3

Sludgefeast

5:15

A4

The Lung

3:51

B1

Raisans

3:48

B2

Tarpit

4:33

B3

In A Jar

3:26

B4

Lose

3:08

B5

Poledo

5:40

Companies, etc.

• Copyright (c) – Cesstone Music

• Phonographic Copyright (p) – SST Records

• Pressed By – Rainbo Records – S-17780

• Pressed By – Rainbo Records – S-17781

• Recorded At – Fun City

• Recorded At – Pine Trax

• Mixed At – Fun City

• Mixed At – Pine Trax

• Mastered At – Greg Lee Processing – L-27491

• Mastered At – K Disc Mastering

Credits

• Bass, Ukulele, Tape [Tapes], Vocals – Lou Barlow

• Drums – Murph (2)

• Engineer – Dave Pine (2) (tracks: B1 to B4), Wharton Tiers (tracks: A1 to A4)

• Guitar, Vocals, Percussion – J Mascis

• Painting [Front Cover] – Maura Jasper

Notes

Side A recorded at Fun City.
Side B recorded at Pine Trax.
Track B2 vocals + mixing Fun City, others stuff Pine Trax.
Track B5 recorded on 2 crappy tape recorders by Lou + Lou alone in his room.

© 1987 Cesstone Music (BMI) ? 1987 SST Records.

Dinosaur Jr. is an American rock band formed in Amherst, Massachusetts in 1984, originally simply called Dinosaur until legal issues forced a change in name.

The band was founded by J Mascis (guitar, vocals, primary songwriter), Lou Barlow (bass, vocals), and Murph (drums). After three albums on independent labels earned the band a reputation as one of the formative influences on American alternative rock, creative tension led to Mascis firing Barlow, who later formed Sebadoh and Folk Implosion. His replacement, Mike Johnson came aboard for three major-label albums. Murph eventually quit, with Mascis taking over drum duties on the band's albums before the group disbanded in 1997. The original lineup reformed in 2005, releasing three albums thereafter.

Mascis's drawling vocals and distinct guitar sound, hearkening back to 1960s and '70s classic rock and characterized by extensive use of feedback and distortion, were highly influential in the alternative rock movement of the 1990s.

Mascis and Barlow played together, on drums and guitar respectively, in the hardcore punk band Deep Wound, formed in 1982 while the pair were attending high school in western Massachusetts. After high school, they began exploring slower yet still aggressive music such as Black Sabbath, the Replacements, and Neil Young. Mascis' college friend Gerard Cosloy introduced him to psychedelic-influenced pop bands like Dream Syndicate, which Mascis in turn showed to Barlow. Barlow explained, "We loved speed metal...and we loved wimpy-jangly stuff".

Deep Wound broke up in mid-1984. Cosloy had dropped out of the University of Massachusetts Amherst to focus on running his independent record label, Homestead Records, and promised Mascis that if he were to make a record Homestead would release it. Mascis wrote a number of songs by himself and showed them to Barlow, to whom he offered the bassist position. Barlow said the songs "were fucking brilliant...They were so far beyond. I was still into two-chord songs and basic stuff like 'I'm so sad.' While I was really into my own little tragedy, J was operating in this whole other panorama." Mascis enlisted vocalist Charlie Nakajima, also formerly of Deep Wound, and drummer Emmett Patrick Murphy, otherwise known as Murph, to complete the band. Mascis explained the concept behind the group as "ear-bleeding country".

The band was initially named Mogo, and played their first show on University of Massachusetts Amherst campus in the first week of September 1984. However, Nakajima used the performance to launch an extended anti-police tirade. Mascis was so appalled by Nakajima's behavior at the show that he disbanded the group the next day. A few days later Mascis invited Barlow and Murph to form a new band without telling Nakajima. "I was kind of too wimpy to kick him out, exactly," Mascis later admitted, "Communicating with people has been a constant problem in the band." The trio named themselves Dinosaur, and Mascis and Barlow took over lead-vocal duties.

Mascis took Cosloy up on his offer to release an album and Dinosaur recorded their debut album for $500 at a home studio in the woods outside Northampton, Massachusetts. Their debut album, Dinosaur, was released in 1985. The music was extremely eclectic and revealed a combination of musical styles that was very unusual, especially for the mid-1980s: the speed of hardcore punk, Crazy Horse-style garage rock, slower and monolithic Black Sabbath-style metal riffs, folk rock, twangy country-rock and the dour moods of gothic music. On the band's later albums, these elements would often be combined into single songs, but on the debut album, each individual song is different stylistically. All of this was delivered with the extreme level of volume and distortion that would become part of the band's signature style. Mascis wrote all of the songs. Some of the singing was done by Mascis in his trademark nasal drawl (often compared to singer Neil Young), but the majority of the lead vocals were by Lou Barlow. Mascis would sing most or all of the lead vocals on all of their subsequent releases. The album did not make much of an impact commercially or critically: it sold only about 1,500 copies in its first year and was largely ignored by the majority of the music press.

After the record's release, Dinosaur would often drive to New York City to perform shows. At one of their shows, the New York-based alternative rock band Sonic Youth was at first unimpressed by the first Dinosaur performance they saw, but after watching them play several months later, approached the band declaring themselves as fans. Sonic Youth invited Dinosaur to join them on tour in the American Northeast and northern Midwest in September 1986.

You're Living All Over Me

Dinosaur recorded much of their second album You're Living All Over Me with Sonic Youth engineer Wharton Tiers in New York. During the recording process, tension emerged between Mascis and Murph because Mascis had very specific ideas for the drum parts. Barlow recalled, "J controlled Murph's every drumbeat...And Murph could not handle that. Murph wanted to kill J for the longest time." Gerard Cosloy was excited by the completed album, but was devastated when Mascis told him the band was going to release it on California-based SST Records. Mascis was reluctant to sign a two-album deal with Homestead, but Cosloy felt betrayed, "There was no way I couldn't take it personally." After the album's completion Mascis moved to New York, leaving the rest of the band feeling alienated.

You're Living All Over Me was released in 1987; early copies of the record in the Boston area were packaged with the Weed Forestin' tape, the first release by Barlow's side project Sebadoh. The album received much more attention in the indie-rock community than the debut. While the previous record had featured different musical styles for each song, You're Living All Over Me found the band's various disparate influences merging into each individual song. Although the hardcore punk influences were noticeably more muted than on Dinosaur, the overall sound was much more powerful, with the instruments often recorded very loud and with considerable distortion. While Mascis's guitar, alternating between Black Sabbath-like riffs, squalling solos, dissonant noise-rock and occasional quiet passages, was the main attraction, Barlow's bass, melodic, highly distorted and often playing thick two-note chords, competed for attention. Meanwhile, Murph played the Mascis-composed drum parts in a very heavy and powerful fashion, resulting in a version of the power trio format. Mascis did most of the lead singing, in a detached drawl that presented a contrast with the extreme music. The songs were highly melodic, albeit with odd song structures that avoided the typical verse-chorus-verse patterns of most rock and pop songs. Barlow also composed two songs: the hardcore-influenced "Lose" and an acoustic sonic collage entitled "Poledo" that anticipated his work with Sebadoh.

Immediately following the release of You're Living All Over Me, supergroup the Dinosaurs (featuring ex-members of Country Joe and the Fish, Quicksilver Messenger Service, Hot Tuna, Grateful Dead and Jefferson Airplane) sued them over the use of the name, prompting the addition of "Jr."

Dinosaur Jr. had a major breakthrough in the United Kingdom with their debut single for Blast First, "Freak Scene" in 1988, a version with censored lyrics being issued for radio consumption. It reached number 4 in the UK independent chart, staying on the chart for 12 weeks. The band's third album Bug followed shortly afterwards, reaching number 1 on the UK independent chart and spending 38 weeks in the chart. The band's first UK singles chart placing came in 1989 with their cover of The Cure's "Just Like Heaven".

Bug was similar in musical style to You're Living All Over Me, with the contrast between the extremely distorted instruments and the melodic vocal parts intact, as was the band's unique blend of musical influences. However, this time out, there was even more melody and the song structures were more conventional. Mascis was exhibiting an even tighter control over the band's sound, singing lead vocals on all but one song and composing the parts for Murph and Lou to play. Barlow's only lead vocal was on the album's final track, featuring an overdriven, noise-rock backing track and Barlow screaming "Why don't you like me?"

Mascis has described Bug as his least favorite of the band's albums. In an interview in 2005, after the original line-up had reformed, he said, "'Bug' is my least favourite of all our records. I like some of the songs but, I dunno, I guess I really don't like the vibe of it."

Despite the album's success, tension between Mascis and Barlow began interfering with the band's productivity, and in 1989, after touring in support of Bug, Barlow was kicked out of the band. Barlow now focused all of his attention on the former side-project Sebadoh. "The Freed Pig", the opening track on 1991's Sebadoh III, documents Barlow's frustration with Mascis and feeling as if he were treated poorly in Dinosaur Jr.

Meanwhile, the band embarked on an Australian tour with Donna Dresch filling in for Barlow. In 1990, the band released a new single, The Wagon on Sub Pop, their first release since Barlow's departure. The single featured a short-lived lineup including guitarist Don Fleming and bassist Jay Spiegel from the band Gumball, in addition to Mascis and Murph.

Despite the ongoing lineup turmoil, Dinosaur Jr. signed with Sire Records in 1990. They made their major-label debut Green Mind in 1991. The new record was virtually a J. Mascis solo album, with Murph playing drums on only a few songs, as well as minimal contributions from Fleming and Spiegel, who were out of the band by the time the album was released. Mascis, whose first instrument was a drum kit, recorded many of the drum parts by himself, layering the various instrumental parts through overdubbing. While Mascis' guitar, voice and songwriting ensured that the album had its share of the band's old sound, it was much quieter and more layered, with more use of keyboards and acoustic guitar, and with a noticeable lack of the power-trio roar for which the original lineup had been known.

For touring purposes, Mascis first added Van Conner, and then Mike Johnson to handle the bass parts and embarked on several tours to support Green Mind, with support acts that included Nirvana. In 1991, Sire records released an EP titled Whatever's Cool with Me that featured old B-sides coupled with one new track. In 1992, the band was part of the Rollercoaster Tour, a package tour based on the successful Lollapolooza festival, which featured The Jesus and Mary Chain, My Bloody Valentine and Blur.

The band found their live shows well received in the changing musical climate of the early '90s, and decided to record new material with the new lineup. This time, the recording sessions were with full participation from Murph and Johnson, with the former playing most of the drums and the latter playing all of the bass parts, singing harmony vocals and even contributing a few guitar solos. This material represented the peak of the band's commercial success, with the single "Start Choppin'" reaching the top 20 in the UK, and the album that followed, Where You Been, reaching the UK top 10 and the US top 50. The opening track, "Out There", had an accompanying video and was aired on MTV for a short time, as the show 120 Minutes was still popular as a late-night "alternative" video show. Although the new material was more accessible than the band's 1980s albums, in terms of playing it represented a partial return to the more unrestrained power-trio sound of the original lineup.

Murph left the band after touring for Where You Been and was replaced for the band's live shows by George Berz, leaving Mascis as the sole remaining original member. However, the band's subsequent albums would be recorded mostly by J Mascis on his own, playing everything except for the bass and some of the harmony vocals, which continued to be handled by Mike Johnson. The commercial success continued with 1994's Without a Sound, which placed well in both the US and UK album charts. After 1997's Hand It Over, Mascis finally retired the Dinosaur Jr. name, with the group's final live performance being an appearance on the American talk show The Jenny Jones Show. In 1999, Mascis released the first of two solo albums under the name J Mascis and the Fog.

You're Living All Over Me is the second studio album by American alternative rock band Dinosaur Jr.. It was released on December 14, 1987, through SST Records.

The album was named after a line uttered by frontman J Mascis while on tour with the band.

"Poledo" is unique from the rest of the album in that half of it is a lo-fi recording of Lou Barlow singing and playing ukulele, much like his own group Sebadoh, while the other half is a collection of sound collages and abstract noise pieces.

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Guidelines for record grading / condition of used records (based on Goldmine Grading for Records)

MINT (M): Perfect! This record looks like it has just left the manufacturer, with NO flaws what so ever. It looks as though it had never been handled. No scuffs or scratches, blotches or stains. No stickers or writing address labels. COVER: No writing, no tears or seam splits. No wear to the cover or record period! Age of the record has nothing to do with it.

NEAR MINT or (NM), (M-): RECORD: Record appears virtually flawless. A very minor scuff and very little else appears on the vinyl. It should play without any noise over the flaw. The flaw is very hard to see. COVER: The cover looks as close to perfect with only minor signs of wear and or age. Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable, however the artwork is as close to perfect as can be.

(VG++), EXCELLENT or (EX): RECORD: Will have minor scuffs which are only slightly visible. There may be more than a few scuffs and NO scratches. COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits, writing on the cover or taped repairs.

VERY GOOD PLUS or (VG+): RECORD: A VG+ record shows some wear and surface scuffs. The vinyl still has a great luster, but the flaws will be noticeable to the naked eye. Visible flaws don't cause too much surface noise. COVER: A virtually clean cover, but may have small writing on it. The artwork looks clean with slightly more aging. Flat white paper will be somewhat yellow, but no large stains or mildew from water damage. Some minor wear to the seams or spine, but no significant tears or holes popping through. The corners will be slightly dog eared, but no crackly bends, defacing the artwork.

VERY GOOD or (VG): RECORD: A record that is good enough. They are not really going to look very good, but will PLAY very good. There will almost always be some surface noise when they are played. The Dynamics should still be excellent, overpowering the surface noise. A VG record will look like it has been played, but still have some luster. COVER: VG covers will look worn, used. There may be some seam splitting . There will be some ring wear, where the ink has begun to wear off, giving the cover a look of snow falling. There may be some writing on the cover (still, no Large letters in magic marker). It will look aged and more yellowish due to contamination's in the air (sometimes looking like cigarette smoke), but should be decent.