Frequently bought together
Customers who bought this item also bought
Customers who viewed this item also viewed
It was time for J. Mascis to move on from his Dinosaur Jr. days. He may never leave the comfortable environs of his home studio in Amherst, Massachusetts, but at least he can import folks like My Bloody Valentine's Kevin Shields to add sonic deviation. He'll always sing in that anguished whine that suggests someone is twisting his arm behind his back (or sometimes he'll sound surprisingly like Alice Cooper). As long as he keeps the guitars choogling with his trademark hyperdistorted tone, he'll be OK. "Same Day" employs this strategy with the expected results. "Where'd You Go" and "Back Before You Go" have a Southern rock vibe running through them. Even more revealing, however, are the moodier pieces in which the arrangements head into psychedelic territory ("Waistin," "Ground Me to You") with swirling keyboards and subtler guitar moves. An old dog may not learn new tricks, but he can add some nice twists to the old ones. --Rob O'Connor
Showing 1-6 of 13 reviews
There was a problem filtering reviews right now. Please try again later.
Other exceptionally great tracks are Back Before You Go, Ammaring & Where'd You Go
I heard many good things about this album. First good thing I heard was that J didn't change his styles of distorted, loud and heavy guitaring but what he didn't change he fixed. I heard that keyboards run through most of the songs and the last I heard was that the lyrics and vocals have lightened up.
All of the above was true. From listening to Same Day and hearing J do his trademark solos and scratchy vocals, I knew I was in for a treat. Wastin really changed the flow with the chorus that includes some original keyboarding, then we go where the album really picks up at Where'd you Go, which for some reason, reminds me of the old Dinosaur Jr. I think Where'd you Go is J's message to us after three years absense. Grand me to you slows things down a bit, sounds like the Dinosaur Jr from the Without a Sound era almost.
But the next track changes the whole album. Ammaring. It starts with some easy guitar and a keyboard running along with it, the drumming and base are unusually louder then usual. About a minute in J runs through the first solo which sounds slightly distorted then the song just bangs into another LOUDER guitar but maintaining the same easy flow. Another solo which fits the song more. But as J starts singing louder everything picks up then he unleashes the loudest and most powerful solo I've ever heard him so. It's crazy and very distorted. The whole song is just amazing to listen too. It's the defining song of the album, and I'm shocked that this wasn't a number one hit.
Then we run into All the Girls. A slower song that is also reminisent of the Without a Sound/Hand it Over era of Dinosaur Jr. Wait for the distorted middle that runs with a keyboard, that's awseome. I'm not Fine, the next track, is just pure guitar power. Along with a pretty nutty ending. But then things mellow out as much as they slow down with Can I take this On. This song is the nicest song I've ever heard J do. Includes a keyboard, banjo and a barking dog, simply harmless rock. Does the Kiss fit is another great song with a keyboard that runs through it. I love that track personally like Ammaring.
But J tries something new with the closing title track More Light. He (and Kevin Sheilds) completely cranks everything up too 10+ and just lets loose with LOUD distorted guitaring that I just can't define by typing. It's amazing and I think J should try something like that again.
J Mascis would go on to follow this album up with Free so Free which is a HUGE fall back from the pure power and energy this album had.
I recommend this album to anyone new to J Mascis or Dinosaur Jr.