"Dinosaur Jr. was largely responsible for returning lead guitar to indie-rock and, along with their peers the Pixies, they injected late-'80s alternative rock with monumental levels of pure guitar noise. As the group's career progressed, it turned into a vehicle for J. Mascis' songwriting and playing, which had the ultimate result of turning Dinosaur's albums into largely similar affairs. Over time, Mascis shed his hardcore punk roots and revealed himself to be a disciple of Neil Young, crafting simple songs that were delivered at a crushing volume and spiked with shards of feedback. Consequently, Dinosaur Jr.'s '90s albums -- when the group was essentially a front for Mascis -- don't sound particularly revolutionary, even with their subtle sonic innovations, yet their original '80s recor...ds for SST were a different matter. On their early records, Dinosaur lurched forward, taking weird detours into free-form noise and melodic soloing before the songs are brought back into relief by Mascis' laconic whine. Dinosaur's SST Records laid the foundation for alternative rock's commercial breakthrough in the early '90s, and while the band's profile was raised substantially in the wake of Nirvana's success, they never really became much bigger than highly respected cult figures.

J. Mascis (b. Joseph D. Mascis; guitar, vocal) formed Dinosaur Jr. in Amherst, Massachusetts, after his hardcore punk band Deep Wound broke up in 1983. Hooking up with fellow high school student Lou Barlow (bass), Mascis initially played drums in Dinosaur, but shortly afterward, former All White Jury drummer Murph (b. Emmett "Patrick" Murphy), joined the group, and J. moved to guitar. Over the next year, the group developed a local following, and in 1985, the trio released their debut album, Dinosaur , on the Homestead label. The record and the group's crushingly loud concerts developed a cult following over the next year. By the end of 1986, a hippie-rock group called Dinosaur -- featuring former members of Jefferson Airplane and Country Joe & the Fish -- sued the band, which changed its name to Dinosaur Jr.

In 1987, Dinosaur Jr. signed to Black Flag's indie label SST and released You're Living All Over Me , which became an underground sensation, with groups like Sonic Youth championing Mascis' wild, feedback-drenched guitar. Early in 1988, they released the seminal single "Freak Scene," a song that captured the feeling and tone of the emerging American post-punk underground. "Freak Scene" became a college radio hit, and it led the way for their acclaimed 1988 album, Bug . Although the band's popularity continued to grow, tensions were developing between Mascis and Barlow, who rarely talked to each other. In 1989, Mascis told Barlow that the group was breaking up; the following day, he "re-formed" Dinosaur Jr., this time without Barlow, who went on to
form Sebadoh.

Without Barlow, Dinosaur Jr. relied on a rotating array of guest bassists, including Don Fleming and the Screaming Trees' Van Connor. In 1989, the group had an underground hit with their non-LP cover of the Cure's "Just Like Heaven." The following year, they signed with Sire Records. After "Just Like Heaven," Mascis remained quiet for several years, as he produced acts like Buffalo Tom and collaborated with friends like Sonic Youth and Fleming's Velvet Monkeys. Green Mind , Dinosaur's 1991 major-label debut, was recorded almost entirely alone by Mascis, and its varied, eclectic sound was received poorly in many alternative rock circles. Before the Green Mind tour, former Snakepit member Mike Johnson became the group's full-time bassist. On the subsequent tour, Dinosaur Jr. was supported by Nirvana, whose success with Nevermind soon overshadowed Dinosaur's. Instead of capitalizing on the commercial breakthrough of alternative rock, Dinosaur released an EP, Whatever's Cool With Me , in early 1992 and disappeared to record their next album.

Released early in 1993, Where You Been benefited greatly from the commercial breakthrough of alternative rock, and many of the articles surrounding the album's release hailed Mascis as an alternative godfather. It became the first Dinosaur album to chart, peaking at number 50, and it generated the modern rock hit "Start Choppin'."

That summer, the group played on the third Lollapalooza tour. Mascis recorded the band's next album without Murph, who unceremoniously left the band; he later joined the Lemonheads. Dinosaur Jr. released Without a Sound in 1994 to mixed reviews, but the album was a moderate hit, thanks to the MTV and modern rock hit "Feel the Pain." In the fall of 1995, Mascis launched his first solo acoustic tour, which was captured on his first official solo album, Martin & Me, released in the spring of 1996. After contributing several Brian Wilson-styled songs to Alison Anders' 1996 film Grace of My Heart -- he also made an appearance in the movie -- Mascis completed Dinosaur's next album on his own, leaving Johnson to his solo career. Upon its spring 1997 release, Hand It Over was hailed as Mascis' best album in years, although it failed to generate a significant hit."