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In October 1987, four months after the release of their critically acclaimed Sister LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro, Chicago. The concert was introduced by Big Black’s Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title “Hold That Tiger“ on writer/provocateur Byron Coley’s impishly Geffen-baiting label Goofin’ (years later the band would use this nom de guerre for their own imprint).
“Hold That Tiger“‘s sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn’t a stretch to suggest that the album is to the first handful of SY releases what It’s Alive is to the first three Ramones LPs – a feral and liberatory public snapshot of a band’s blossoming imperial phase. Indeed, “Hold That Tiger“ is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock ‘n’ roll’s most revered live albums.
Superior Viaduct
Superior Viaduct
In October 1987, four months after the release of their critically acclaimed Sister LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro, Chicago. The concert was introduced by Big Black’s Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title “Hold That Tiger“ on writer/provocateur Byron Coley’s impishly Geffen-baiting label Goofin’ (years later the band would use this nom de guerre for their own imprint).
“Hold That Tiger“‘s sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn’t a stretch to suggest that the album is to the first handful of SY releases what It’s Alive is to the first three Ramones LPs – a feral and liberatory public snapshot of a band’s blossoming imperial phase. Indeed, “Hold That Tiger“ is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock ‘n’ roll’s most revered live albums.
