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The central conceit of the band was, ‘You think you’re better than these awful people that you hear about – you are not.'”–Steve Albini

a b c d e Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991. New York: Little, Brown and Company. p.330. ISBN 0-316-78753-1.Riley, Dave. "Worthless Goddamn Cripple". Archived from the original on February 27, 2010 . Retrieved March 25, 2010. You Weren't There: A History of Chicago Punk 1977-1984 (dir. Joe Losurdo and Christina Tillman) (2007) - Documentary Riley, Dave. "Worthless Goddamn Cripple". Archived from the original on 2010-02-27 . Retrieved 2010-03-25.

Over the following nigh-on three decades, in spite of the incendiary nature of his musical output - both on record and, philosophically, off it - Albini has become one of the most level-headed assessors of the state of music and of how we consume it: opposing the disposable nature of certain formats and questioning the integrity of particularly indulgent studio practices, but equally championing the egalitarian possibilities of digital music consumption and of necessary improvements in fidelity. He’s cast as a dinosaur of a bygone time in some lights but, in actuality, that’s only warranted by the acuteness of his observation and the retained sharpness of his bite. Riley, Dave (2006). Blurry and Disconnected: Tales of Sink-or-Swim Nihilism. Warsaw, Illinois: Contortmedia. ISBN 0-9777353-0-3. It meant nothing to us if we were popular or not, or if we sold either a million or no records, so we were invulnerable to ploys by music scene weasels to get us to make mistakes in the name of success. To us, every moment we remained unfettered and in control was a success. We never had a manager. We never had a booking agent. We never had a lawyer. We never took an advance from a record company. We booked our own tours, paid our own bills, made our own mistakes and never had anybody shield us from either the truth or the consequences. The results of that methodology speak for themselves: Nobody ever told us what to do, and nobody took any of our money. [20] [21]In addition to the ones mentioned below, the album was included in the book 1001 Albums You Must Hear Before You Die. [15] Publication Weisbard, Eric; Marks, Craig, eds. (1995). Spin Alternative Record Guide. Vintage Books. ISBN 0-679-75574-8. Miasma of Funk – The Glory of Destruction (various artists compilation, 1997): recording engineer and drum programming on "The Law of Averages" At the final show, a friend of Albini’s called out song titles, and all three of them dug into their instruments with ferocity until the end when they destroyed them as an act of finality. “I remember after I smashed my guitar, this kid asked if he could have a chunk of it that was on the ground,” Albini says. “I said, ‘Sure, yeah. It’s garbage now.’ Then when I was working on the In Utero album with Nirvana, Kurt Cobain told that he had asked me if he could take a piece of my guitar and I told him he could, and he still had the little piece of the guitar. The point of this story is that it was a really cool gig and weird stuff happened, and long after the fact, people remember the cool stuff that happened.” Sanneh, Kelefa (September 14, 2006). "Critic's Notebook; 'Those Were the Days,' the Punk Remix". The New York Times . Retrieved March 27, 2010.

Robert Dimery; Michael Lydon (23 March 2010). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN 978-0-7893-2074-2. By 1984, the band did some touring and signed a deal with Homestead Records. They recorded one more time with Jeff Pezzati on bass, which resulted in their Homestead debut, the Racer X EP, and the start of the Il Duce 7". After that, Jeff returned full time to Naked Raygun, and he was replaced with Dave Riley. I've been thinking about what I would do if I had written "Jordan, Minnesota". That I would never have written "Jordan, Minnesota" is wholly beside the point. If you've lived long enough- let's say thirty-five years- and haven't said something you now know to be completely wrongheaded and stupid, you're either in denial or terminally boring. So that's not the question. The question is, how do you handle it when you've said something you now know to be colossally dumb and very probably harmful that is now enshrined as a "classic"? Albini’s notoriety grew exponentially in the 1990s, though much of it had nothing to do with his music. He worked on a handful of epochal releases in the late 1980s, including Pixies’ 1988 album Surfer Rosa and Slint’s 1989 debut Tweez, but it was his credits on Nirvana’s 1993 swan song In Utero that launched him into the upper atmosphere of in-demand producers. From that platform, he wrote an instantly legendary article for alternative magazine The Baffler that warned of the dangers of signing to a major label, just as the majors were in the midst of snatching up almost every indie band they could find. Christgau, Robert (September 2, 1986). "Christgau's Consumer Guide". The Village Voice . Retrieved June 19, 2016.Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991. New York: Little, Brown and Company. p.314. ISBN 0-316-78753-1. a b Azerrad, Michael (2001). Our Band Could Be Your Life: Scenes from the American Indie Underground 1981–1991. New York: Little, Brown and Company. p.314. ISBN 0-316-78753-1. Algebra Suicide – Alpha Cue (studio album, 1990): bass guitar, piano, and additional percussion on "Summer Virus Night" and "What Rubs Up to You" I "Rema-Rema" is a Rema-Rema cover included as a one-sided single with issue No.9 of Forced Exposure, and limited to 500 copies.

The song "Kerosene" has been covered by Kerbdog (as a b-side to their single " End of Green" [24]), Pitchshifter (on the "enhanced" version of their album Deviant [25]), Lamb of God (on their album Legion: XX, under their original name Burn the Priest [26]) and St. Vincent (live at the Our Band Could Be Your Life 10th Anniversary Show at New York’s Bowery Ballroom on May 22, 2011. It was named by Consequence of Sound as one of her best covers. [27]). Organizationally, we were committed to a few basic principles: Treat everyone with as much respect as he deserves (and no more), Avoid people who appeal to our vanity or ambition (they always have an angle), Operate as much as possible apart from the "music scene" (which was never our stomping ground), and Take no shit from anyone in the process. [20] [77] Members [ edit ]Roland, Albini says, has since ceased to exist. “The housing for it broke and all the components under the pads have deteriorated to the point that it’s unusable,” he says. “Some of the programmed parts of the memory have failed. It wasn’t getting any use, really.” II "In My House" is a Mary Jane Girls cover that was included with copies of the Pigpile video. [68] Video albums [ edit ] Year