Personnel: Thurston Moore, Lee Renaldo (vocals, guitars), Kim Gordon (vocals, bass), Steve Shelley (drums).

Additional personnel: Ian MacKaye (guitar).

Recorded at Magic Shop, New York City.

This is a limited edition release containing a Mike Kelly photograph visible through a see-through tinted tray.

Includes a bonus disc with additional B-sides and rehearsal tapes. Also includes a 28-page booklet.

Sonic Youth: Kim Gordon, Thurston Moore, Lee Ranaldo, Steve Shelley.

Additional personnel: Ian MacKaye.

Includes liner notes by Thurston Moore, Lee Ranaldo and Byron Coley.

Producers: Butch Vig, Sonic Youth.

Personnel: Thurston Moore (vocals, guitar); Kim Gordon (vocals); Ian MacKaye, Lee Ranaldo (guitar); Steve Shelley (drums).

Audio Mixers: Andy Wallace; Butch Vig.

Recording information: Magic Shop, New York, NY (1992); Sear Sound, New York, NY (1992).

When DGC Records signed Nirvana in 1991, one of DGC's A&R reps expressed the opinion that, with plenty of touring and the right promotion, the new act might sell as well as its labelmate and touring partner Sonic Youth. The surprise success of Nevermind upended previous commercial expectations for Sonic Youth (among other established alternative rock bands), and when Dirty was released in 1992, it was seen by many as the band's big move toward the grunge market. Which doesn't make a lot of sense if you actually listen to the album; while Butch Vig's clean but full-bodied production certainly gave Thurston Moore and Lee Ranaldo's guitars greater punch and presence than they had in the past, and many of the songs move in the increasingly tuneful direction the band had been traveling with Daydream Nation and Goo, most of Dirty is good bit more jagged and purposefully discordant than its immediate precursors, lacking the same hallucinatory grace as Daydream Nation or the hard rock sheen of Goo. If anything, Dirty finds Sonic Youth revisiting the territory the band mapped out on Sister -- merging the propulsive structures of rock (both punk and otherwise) with the gorgeous chaos of their approach to the electric guitar -- and it shows how much better they'd gotten at it in the past five years, from the curiously beautiful "Wish Fulfillment" and "Theresa's Sound World" to the brutal "Drunken Butterfly" and "Purr." Dirty was also Sonic Youth's most overtly political album, railing against the abuses of the Reagan/Bush era on "Youth Against Fascism," "Swimsuit Issue," and "Chapel Hill," a surprising move from a band so often in love with cryptic irony. Heard today, Dirty doesn't sound like a masterpiece (like Daydream Nation) or a gesture toward the mainstream audience (like Goo) -- it just sounds like a damn good rock album, and on those terms it ranks with Sonic Youth's best work. ~ Mark Deming

Sonic Youth's second major-label album, produced and mixed by Butch Vig and Andy Wallace (a team that had helped turn Nirvana's NEVERMIND multi-platinum) was not the barefaced bid for mainstream acceptance that surly underground souls grumbled about in the pages of fanzines. While Vig and Wallace give guitarists Thurston Moore and Lee Ranaldo, bassist Kim Gordon, and phenomenal drummer Steve Shelley a wide-screen panorama for their bizarrely-tuned assaults, DIRTY is probably Sonic Youth's most uncompromising album since 1985's BAD MOON RISING--particularly in the lyrical department.

Dropping the deliberate obscurantism, Philip K. Dick references, and smart-alecky snottiness, Sonic Youth brackets a slew of pointed political attacks ("Youth Against Fascism," "Swimsuit Issue," and the Jesse Helms-bashing "Chapel Hill") with two passionate tributes to the band members' murdered friend, Joe Cole ("100%" and "JC"). That DIRTY is Sonic Youth's most commercial-sounding album makes it that much more subversive.