MAKING OF THE ALBUM: Sonic Youth – Goo

Sonic Youth had spent the majority of the 1980s struggling to find success in the New York music scene with their unique blend of Avant-garde rock. 1988′s Daydream Nation, their fifth studio album which had been released by Enigma Records to great acclaim, had brought the band to a moderately wider audience but they had failed to break into the mainstream. But it had generated a sufficient enough buzz that several major labels had taken notice and were eager to sign them and soon Geffen, A&M and Atlantic Records were attempting to seduce the band. Geffen’s recent track record of taking struggling artists and revitalizing their career with the likes of Aerosmith seemed promising, coupled with their phenomenal success with Guns N’ Roses, but Sonic Youth were concerned that signing to such a label would compromise their artistic freedom. But with the company having recently launched an offshoot entitled DGC (David Geffen Company), the band were assured that, whilst there would be certain requirements regarding making their sound more accessible than their previous releases, there would be no pressure to produce an album of hit singles.

Having signed with Geffen in the summer of 1989, Sonic Youth retreated to their rehearsal space in Hoboken, New Jersey, to work on material that would form their major label debut. Whilst several of the tracks on Daydream Nation were around the seven-minute mark (whilst Trilogy, which comprised of three songs, ran to just over fourteen), much of what would become Goo would range between one minute (Scooter + Jinx) and seven and a half (Mote). Eager to give the band a fuller and more polished sound, their A&R representative suggested that they joined forces with Daniel Lanois, a Canadian-born producer who had in part been responsible for the success of U2, having overseen the recording of The Unforgettable Fire and The Joshua Tree. Concerned that his approach would result in their grittier edge being lost during on the album, the group opted to produce the record themselves, whilst also recruiting Nicholas Sansano, who had handled Daydream Nation, to work as their engineer.

Whilst their previous album had been recorded at Greene Street in SoHo, New York, the majority of the sessions for Goo would take place at Sorcerer Sound on Mercer Street. Due to the ample studio space, the band were able to experiment by hanging microphones in unusual places and performing whilst isolated from the other members. When a new drumkit arrived for Steve Shelley it proved too big to be brought into the main studio and so Shelley was forced to record whilst remaining in the service elevator. On hand to provide backing vocals for the songs Tunic (Song for Karen), Mote and My Friend Goo was J Mascis, frontman of fellow cult alternative rockers Dinosaur Jr. who, much like Sonic Youth, had been signed to SST Records for the latter part of the 1980s. Upon returning to Greene Street to complete the recording, the band found themselves sharing the building with hip hop stars Public Enemy, who at that time were working on their classic album Fear of the Black Planet. In a moment of inspiration, singer Thurston Moore and bassist Kim Gordon decided to invite rapper Chuck D, to provide vocals on the track Kool Thing.

Although the recording sessions had often proven to be a nightmare, with a variety of equipment malfunctions often forcing countless takes, sessions finally came to an end and the album was mixed Right Track in New York with Ron Saint Germain, who had previously worked with Washington-based hardcore punk legends Bad Brains and would later collaborate with Soundgarden and Tool. Goo was released by DGC in June 1990 and the track Dirty Boots would gain minor airplay on MTV, later appearing on the hit show Beavis and Butt-head, whilst the song Titanium Expose would be included in the Christian Slater drama Pump Up the Volume (which would also include material from Bad Brains, Soundgarden and Pixies). A home video was released the following year which included promo clups for all eleven songs from the album.