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Daydream Nation


Price: CDN$ 24.95
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Daydream Nation + Goo + Dirty
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Product Details

  • Audio CD (June 7 1995)
  • Number of Discs: 1
  • Label: Universal Music Group
  • ASIN: B000003TAL
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (104 customer reviews)
  • Amazon Bestsellers Rank: #39,752 in Music (See Top 100 in Music)

1. Teen Age Riot
2. Silver Rocket
3. The Sprawl
4. 'Cross The Breeze
5. Eric's Trip
6. Total Trash
7. Hey Joni
8. Providence
9. Candle
10. Rain King
11. Kissability
12. Trilogy: A) The Wonder/B) Hyperstation/Z) Eliminator Jr.
13. Trilogy: b) Hyperstation
14. Trilogy: z) Eliminator Jr.

Product Description

Product Description

Daydream Nation was Sonic Youth's sixth album, their first double LP, and their last for an indie label before signing with Geffen. Widely considered to be their watershed moment, Daydream Nation catapulted them into the mainstream and proved that indie bands could enjoy wide commercial success without compromising their artistic vision. The original 1988 album has been remastered under the bandOs supervision. The bonus platters begin with previously unreleased live performances from the Daydream Nation Tour. Culled from performances at CBGB in New York, The Paradiso in Amsterdam, and several other primo venues, Live Daydream includes live versions of every song on the original album. Added to that are four studio bonuses: 'Within You, Without You' (a Beatles cover from the NME-sponsored charity Beatles tribute album Sgt. Pepper Knew My Father), 'Computer Age', from the Neil Young tribute album The Bridge, 'Electricity' from the Captain Beefheart tribute album Fast And Bulbous, and a cover of Mudhoney's 'Touch Me, I'm Sick', originally released as a Sub Pop 7-inch single. Lee Ranaldo's original demo of 'Eric's Trip' concludes the album.

Amazon.ca

The essential New York rock band of the post-punk era, Sonic Youth care as much about the quasi-symphonic, microtonal art-guitar music of composers like Rhys Chatham and Glenn Branca as they do about the rock-song form, and with Daydream Nation, they struck their greatest balance between the two. The songs hover gorgeously for extended lengths, letting guitarists Thurston Moore and Lee Ranaldo intertwine fragile tonalities as carefully as it's possible to do at wall-shaking volume, while Moore and bassist Kim Gordon's untutored voices disaffectedly intone words that flirt with pop stupidity, high-art eloquence, and urban cool. When they bear down and rock, they do it with a blurry intensity that finds gorgeousness at the heart of discord. --Douglas Wolk

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Customer Reviews

4.5 out of 5 stars

Most helpful customer reviews

1 of 1 people found the following review helpful By John L. Powell III on July 7 2004
Format: Audio CD
Sonic Youth's early 80's efforts possessed screeching, unorthodox guitar workouts, never really seen or heard beforehand, and passionate, off-kilter vocals, all of which turned off as many fans as it attracted. It could be said that the band's fourth LP, 1986's "EVOL," and their critical breakthrough, 1987's "Sister," were formative works for Sonic Youth, indicating a significant shift from atonal, hook-less white noise bursts to structured sets of songs. However, even today each of these respectable records pale in comparison to the band's 1988 masterpiece, "Daydream Nation." It might be the case that "Sister" and "EVOL" would stand alone as magnificent, influential albums if it were not for this release, but after one experiences "Daydream Nation"'s excellence, the former appear almost insignificant.
"Daydream Nation" begins with the most accessible song Sonic Youth recorded in the 80's, the sonorous "Teen Age Riot." Laced with multiple hooks and affecting lyrics, the opener is this album's guidepost, presenting listeners with a caricature of the band's principal innovation: the combination of melody and instrumentation with fury and disorganization. From there, expansive tracks such as "The Sprawl," "'Cross the Breeze," "Total Trash," and "Trilogy" conjoin beautiful, haunting passages with strident vocals and thrashing guitars, while songs like "Candle," "Hey Joni," and "Silver Rocket" are more succinct, hooky jaunts which enthrall the listener while battering his or her ear drums like a punching bag.
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Format: Audio CD
Daydream Nation tops off the perfect trilogy for Sonic Youth.
Evol, Sister and Daydream Nation are the perfect night of introspection that leads into the daylight of being in the world. These albums move within each other and I find it difficult to separate them. They are my favorite Sonic Youth albums. Fuzzy, not quite songs, attacks on strings and drums, there is no real beginning or end to Daydream Nation. Sonic Youth is a noisy band, but noise in a good way where the dissonace is music, and it is a music felt more than it is a music heard. Daydream Nation with it's wonderful teenage riot and candle...stands as both a great song set and as an extended mood piece. All kudos to Moore and company for this creation. The three albums together represent a lesson in guitar beyond anything that followed for Sonic Youth (for me).
Besides being part of a whole (evol, sister and daydream) that is both separate and conjoined to punk, the cult of Velvet Underground (will it ever stop? being worshipped?), and the beloved shoegazing and prog angst of Manchester and Oxford, Sonic Youth was able to align with greats such as Husker Du and Patti Smith Group (guitar great Lenny Kaye). Daydream Nation did more than have a sound, it had a reason to exist and that was as representation of the sleep our Reagan youth was in at the time. And really now, Daydream Nation was about a daydream nation. Will someone please record a disc that does something besides imitating earlier sounds? Daydream Nation and Sonic Youth gave a new sound, and that stands as mark enough of a great album.
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Format: Audio CD
It's hard to take the alternative rock of the '90's seriously after listening to Sonic Youth. Out of the experimental, alternative/ art/ alternative rock between 1985 - 1990, Sonic Youth was the only one to come across with unpretentious and energetic. There's no need to listen to My Bloody Valentine, Stereolab, or Pavement if you have "Evol," "Sister," and "Daydream Nation."
On "Daydream Nation," Sonic Youth began using more predictable rock that marked the beginning of their descent into typical '90's rock. Thurston Moore's voice became less animated at this point, which really took away from the overall energetic feeling they once had. Kim Gordon's voice had much more of an edge to it, but female vocals in rock just don't work as well as some males.
On the other hand, the feedback work on this album was the best they have ever done. Maybe that's because it's a relief to the rock they were using on the rest of the album. The normal rock they use on the album is really good, but its drug down by the vocals.
The worst song is the lightweight opener, "Teenage Riot." The next three are their most energetic, but then they fail to carry the momentum with "Eric's Trip," just because it's a bad song. The one song that makes this album worth owning is "Total Trash," which is probably the best Sonic Youth song. The way the song self-destructs is absolutely incredible.
Then comes "Hey Joni," which is where the album begins spiraling down. The only songs that save the rest of the album is "Providence" and "Trilogy: the Wonder."
Even though Sonic Youth were not the first to use feedback in their music, they were the best at it. Perhaps the strategic manner in which they use the feedback is what make their music so powerful. It would really be interesting to see a metal band use feedback and arrangements like Sonic Youth does. It would make sense to have self-destructing metal songs caused by the heaviness they can deliver.
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