Guided by Voices/Robert Pollard

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chuckrh
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Re: Guided by Voices/Robert Pollard

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I really enjoyed the Boston Spaceships records. They were all pretty strong & the band was good.

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cortez the killer
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Re: Guided by Voices/Robert Pollard

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Yeah, I love Boston Spaceships. Easily, my favorite Pollard side project.
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artdent
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Re: Guided by Voices/Robert Pollard

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Neither of you will get any argument from me about Boston Spaceships being the best side project. Although I think the highs of Ricked Wicky are more my Pollard style (Piss Face, Death Metal Kid, Mobility, Map and Key, Poor Substitute), it is definitely B Spaceships for the win for consistency. The "best of" album alone is like an alternate arena rock fantasy. I do love how the current band plays those songs live.

Embarrassment of riches.... It is nice to speak the same language with others. The girlfriend doesn't get it re: GBV ...

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Re: Guided by Voices/Robert Pollard

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The Crawling Distance (2009)

In the Pollard universe, 2009 was an eventful year. In addition to The Crawling Distance, he released a second solo album (Elephant Jokes), two LPs with his new band, Boston Spaceships (The Planets Are Blasted, Zero to 99), a new side project record with Cosmos (Jar of Jam Ton of Bricks), a Circus Devils album (Gringo) and Suitcase 3: Up We Go Now. The recording process for The Crawling Distance is the same as it had been on all solo projects dating back to 2004’s Fiction Man, with Bob writing and singing the songs and Todd Tobias playing all the instruments and serving as the producer. For the second straight solo project, this album contains ten tracks of professional-quality fidelity and adhering to a more conventional song structure. The reception to The Crawling Distance covers a wide range. At the time of its release, it received the lowest aggregate score from a critical perspective. Pitchfork shredded the album, slapping it with a 2.8 score. On the other hand, AllMusic gave it one of the highest scores it had awarded to a Pollard solo record - four out of five stars. It’s not as immediate an album as Robert Pollard Is Off to Business is. And while a few of the tracks rock, the overall vibe of the record is softer and more introspective than some of Pollard’s previous solo projects. It ranks in the lower tier of Pollard releases for me, but it contains one of the greatest songs Bob ever penned, the glorious “The Butler Stands for All of Us”.

1. Faking My Harlequin – The Wire influence with those art/kraut rock keys right out of the gate. Tobias with some gloomy prog synth additions in the later half. Pollard sounding a bit like Colin Newman during the outro. “It’s just my luck…” (7)
2. Cave Zone – The Wire vibe continues with the pounding riff that brings to mind “Practice Makes Perfect” off Chairs Missing. Bob with some sinister “Aaaaa-aa-aaa-aa-aa-aaaaa-aaa-aahs” before the song starts to fade out and then abruptly restarts in a very thrashing manner. “Shit, I’m living in a cave zone!” (6)
3. Red Cross Vegas Night – Opening acoustic riff sounds a lot like the iconic “Don’t Stop Now” off 1996’s Under the Bushes Under the Stars. After a minute and a half of a really nice acoustic song, we get a blast of prog rock that sounds like something off Universal Truths and Cycles. Tobias’ string accents are well utilized here. Title came from a sign Bob saw where the local Red Cross was hosting a fundraiser called Vegas Night. “Soul of light I see your shadow.” (8)
4. The Butler Stands for All of Us – Hypnotic riff weaves throughout, serving as the backbone on this incredible song. The song buries you in a relentless avalanche of hooks. One of my all-time favorite vocal melodies. On some days, this is my favorite Pollard song. It’s such an epic song that doesn’t seem to make much of an effort to be one. “If you come Mothers' Day, or Fathers' Day, or just today now.” (11)
5. It’s Easy – Soft rock Bob returns. One of the two songs on the album that originally appeared in demo form on Suitcase: Failed Experiments and Trashed Aircraft. One of the lightest, breeziest songs Bob has ever done. “Tax exempt with Touchdown Jesus.” (5)
6. No Island – Another light, subdued track, which happens to be the longest song on the record (4:49). It is a very nice song, but for me, I feel like it’s missing something. I can’t quite put my finger on what “it” is, but I find myself wanting to get pulled in, but unable to. This is definitely one of those “Sad Clown” Bob songs. “That’s what you told me, you sold me.” (6)
7. Silence Be Destroyed – Would’ve fit in well on Standard Gargoyle Decisions. Neat little, sliding guitar riff. One of the most hurried Pollard vocals in his catalog. “You get over yourself…” (5)
8. Imaginary Queen Ann – Another song that mines more of the soft rock territory Bob has been retreating to with more frequency. It’s not the kind of arrangement you typically associate with Bob, but he does cover this ground from time to time. It’s a pleasant song that doesn’t really move me either positively or negatively. (5)
9. On Short Wave – The second Suitcase song that Bob chose to give a more formal treatment to. Another slow, plodding track that is treated with some very dramatic-sounding strings. Some solid lyrics, but the sound of the track doesn’t do much for me. “Your eyes are courtrooms, your silences bear arms.” (4)
10. Too Much Fun – On an album that deals with more depressing topics and contains a large percentage of more subdued arrangements, this is an interesting closer. Sort of a schizophrenic arrangement by Tobias, with some very abrupt stylistic changes. Has a bit of an early Cheap Trick vibe and some Faces-like fuzzy crunch to the guitars. Morphs into what sounds like a Circus Devils song by the time it reaches its conclusion. “We thank you so much for crawling the distance…” (6)
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Re: Guided by Voices/Robert Pollard

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Elephant Jokes (2009)

After releasing two solo albums trimmed down to ten tracks each, Pollard makes a retreat back to his Bee Thousand/Alien Lanes days with a twenty-two track album that clocks in at just over forty-six minutes. An early plan for Elephant Jokes was for it to be a thirty-two track, double album behemoth. That plan was obviously scrapped, with those ten additional tracks appearing instead on Suitcase 3: Up We Go Now. All 4 Ps (pop, punk, prog and psych) are represented here on yet another Pollard/Tobias collaboration. However, this time around Tobias does not play all the instruments. An underrated guitarist in his own right, Pollard straps on the six-string for this project. The recording process was altered a bit, too. Instead of submitting demos for Tobias to add all the instrumentals over, Bob went right into the studio to record his guitar and vocal parts. Todd came in later to add the additional instrumentals and accents. As I mentioned in the write-up above for The Crawling Distance, Bob released an incredible amount of material in 2009, but the quantity does not dilute the quality here. In fact, I think Elephant Jokes is a much stronger record than its solo predecessor. The return to the shorter songs and the incorporation of more elements of the 4 Ps gives this a nice, loose feel. For the first time in a while, it sounds like Bob is having fun. And while the fidelity is not that of some of the mid-to-late 90s GBV records, that spirit of the songwriting really shines through on Elephant Jokes.

1. Things Have Changed (Down in Mexico City) – Fantastic, snarling punk-prog rocker to open the record. Bob’s guitar smacks you upside the head right out of the gate. Song starts out on a heavy, ominous simmer and takes little time before transitioning to a chugging boil. Utilizes this dynamic throughout. “Cry for the innocence of love…” (10)
2. Johnny Optimist – From heavy, moody rocker to carefree, airy pop song. This is another excellent track. The opening has an 80s television theme song vibe to it. For years, I couldn’t put my finger on which one, but to my ears it sounds a bit like “Believe It or Not” from The Greatest American Hero. So much joy from this song. Love the yelling back and forth between Bob and his brother Jim during the last half of the track. “He’s a terrible burden on the quest for perfection.” (10)
3. When a Man Walks Away – Loud, screeching distortion and a thunderous riff announce this track. Heavy in more of a sledgehammer type of way. No moody, ominous vibe here, just a powerful garage rocker. Another song that brings to mind that classic period of GBV. “It’s really okay for a man to walk away, from a knockout, from a strikeout, without anything to say.” (9)
4. Parts of Your World – Great acoustic opening with some well-placed synth swells to build the track up. Love the “La-la-la-la-la-la-la-la’s” during the outro. “Parts of your world shine brightly through our worlds.” (7)
5. Symbols and Heads – Uses a very similar opening riff as Coast to Coast Carpet of Love’s “Our Gaze”. If you told me this track was an outtake from Mag Earwhig!, I would completely believe it. Such a fun mid-tempo rocker that features a fantastic chorus. “Oh yeah-oh yeah, Oh yeah-oh yeah, Oh yeah-oh yeah, Oh-yeah-oh yeah…” (9)
6. I Felt Revolved – Bob dials up the fake British accent. Stormy, ominous atmospherics by Tobias give way to a simple guitar riff that still maintains some subtle bite. Another song that keeps the tension bubbling under, rather than releasing it in an explosive manner. “I put my hand in the jar, nothing was special to me.” (7)
7. Epic Heads – That opening guitar line. Damn! Song only lasts 1:37, but it makes a big impression. The big, beefy guitar sound brings to mind Faces again. “Water under the bridges of our noses.” (8)
8. Stiff Me – Bob dips back into the Wire well on this punchy, post-punky short blast of a track. Great subtle tempo shifts throughout. “We see ourselves as explorers trail blazing the kicks.” (9)
9. Compound X – Lyrics courtesy of Bob’s wife, Sarah Zade-Pollard. Simple, breezy music arrangement, complete with tom rolls from Tobias. “It’s a cruel courtship that crashes the lines into her face.” (6)
10. Accident Hero – Bob singing in what sounds like an inebriated falsetto on this light, bouncy song. Features a soaring chorus and a neat whistling outro. “And his pockets are full, full of proof pudding.” (6)
11. Tattered Lily – Song brings to mind The Who in both sound (the riffs) and title (“Pictures of Lily”). One of the longest songs on the album, clocking in at 3:38. Major Doug Gillard-era feel to this song, particularly via Universal Truths and Cycles. I imagine this one smokes live. The repetitive, slow, warbling guitar in the latter part of the track is awesome. “She’s been telling me things I don’t wanna know. So, I don’t think I’ll let her go.” (9)
12. Hippsville (Where Frisbees Fly Forever) – Bob asks sarcastically, “Don’t you just like college?” several times during the opening. It’s a bit hokey, but then it transitions into a balls-to-the-wall rocker before fading out. Has that classic, oddball snippet feel. I dig. (7.5)
13. Newly Selected Dirt Spots – Another song that channels the spirit of early/mid-60s The Who. Short, catchy and sweet. “Last night I dialed the wrong number again. This time it wasn’t you.” (7)
14. Jimmy – Other than the fidelity, this song sounds like a Bee Thousand outtake. Love the pacing, the double-tracked vocals, the playful circus-like accents and whistles. Pure, alternative-universe, catchy Pollard goodness. “Jimmy get your love. Jimmy get your gun. Jimmy get your love gun, supersonic love gun.” (10)
15. Pigeon Tripping – Sounds like Tobias decided to slip a Circus Devils song onto a Pollard solo record. Must not have fit the mood well enough for April’s Gringo album. (3)
16. Spectrum Factory – The second song on the album to feature Sarah Zade-Pollard’s lyrics. Music arrangement features elements of prog and post punk. Love the ominous-sounding synths and springy bass here. “The great mistakes of retail and manufacture…” (7)
17. Perverted Eyelash – The nightmare circus returns. Bob goes all Devo on us. There’s a catchy element to this song. It just takes multiple listens to latch on. (5)
18. Cosmic Yellow Children – Big Flaming Lips vibe on this dreamy, psych-tinged atmospheric track. The first half of Elephant Jokes is more straightforward, whereas Pollard uses the second half to explore the more avant-garde side of his muse. (6)
19. Blown Out Man – Tacked on the backend of the record, mixed in with the more experimental tracks comes this epic, prog-dusted rocker. I’m hot and cold with Tobias’ production, but here it works wonders. This one will sneak up on you. “Trust me, these days I’m a blown-out man.” (9)
20. Desiring – Tender, acoustic ballad with Bob’s vocals expressing some strong emotion. Tobias adds some synth string swells to dial up the drama as the song peaks and gets the Fading Captain treatment. “Remember bleeding, steel trap wedlock.” (6)
21. (All You Need) To Know – The longest track on the LP stars out as an interesting, moody plodder. However, it does not need to go on as long as it does and the repeated “to know…” wears out its welcome pretty quickly. (4)
22. Architectural Nightmare Man – Intro features a very deliberate stop-and-start arrangement. From there, the song descends into a Circus Devils-like carnival nightmare of a song. Conjures images of roller coasters falling off their tracks and scary, creepy clowns getting in your face. (5)
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Johnny Optimist"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Accident Hero"
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Re: Guided by Voices/Robert Pollard

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We All Got Out of the Army (2010)

Pollard’s first of two solo albums for the year is the third album he's released that features a branch of the military. His 1996 solo debut was Not in My Airforce and a few years later came Kid Marine. At some point down the road, Bob will have to release a Navy-titled album to show love for all four branches. The creative and recording process for We All Got Out of the Army follows a similar path as the previous album, with Bob playing guitar on many of the tracks. All the songs were written by Pollard, with wife Sarah getting co-writing credit on “Post Hydrate Update”, “I’ll Take the Cure” and “We All Got Out (of the Army)” and brother, Jim, getting credit for his assistance on “Red Pyramid” and “Rice Train.” Todd Tobias was back again in his familiar role as producer and multi-instrumentalist. Of the 4 Ps, pop takes the most prominent role on WAGOotA. And unlike the scattershot construction of Elephant Jokes, this is a power pop album, packed with those trademark Pollard hooks, while also incorporating hints of punk and prog into the mix. If you gravitate to the more pop-oriented side of Bob’s songwriting, this is a strong, consistent album that I strongly recommend.

1. Silk Rotor – Strong candidate for best opener on a Pollard solo album. The guitar tone and performance on this track is stellar. One of the best power pop songs Bob has ever penned. Super propulsive chorus. The guitar on the outro is sublime. No Fading Captain treatment here as the song abruptly cuts out. “Oh, it’s coming down, like cockblockers at a crackerdance, at a wing-tip free for all.” (11)
2. I Can See – Main guitar riff is a bit slowed down here. Bob’s vocal pacing is more deliberate and punctuated. Those guitars smolder with a slow-burning heat. Another strong track. “So you can see, moonshine on the rider!” (8)
3. Post Hydrate Update – Light, bouncy power pop song. Bob adds an extra shot of cream on this mid-tempo track that would fit perfectly on Mag Earwhig! or Do the Collapse. “She ran off with an elephant and a reindeer.” (8)
4. Your Rate Will Never Go Up – Another breezy, mid-tempo track. Bob sounds so loose and happy here. It's hard to resist the urge to skip down the street when this comes on. Another strong entry for the sub-two minute pop song canon. “I cross my eyes but it just stays.” (7)
5. On Top of the Vertigo – Love that guitar riff that weaves throughout. Sounds a bit like a Standard Gargoyle Decisions track with its snarl and bite. Pollard adding some Buzzcocks-like punk flavor to the album. “I first saw you back in 1982. You were sleeping in a puddle of puke.” (8)
6. Red Pyramid – Starts out as a lunging pace, reminiscent of that 90s, lo-fi slacker vibe. Love the guitar line that weaves through underneath the track. “I’ve had enough now. I’m all coffee’d out.” (7)
7. Talking Dogs – Shortest track on the LP (1:12). Bob dipping back into that 80s, R.E.M.-like jangly zone. This is a really nice song that I wish went on for another minute or so. “Up on shit mountain, disguised as an Indian burial mound.” (7.5)
8. Rice Train – Cold, grinding industrial marcher of a track. Would slot in nicely on a variety of Circus Devils records. Sort of a mood killer on here. (3)
9. Wild Girl – Lo-fi acoustic ballad that sounds exactly like what comprises most of the Suitcase collections. Side two limps to the finish line after a strong start. (3)
10. I’ll Take the Cure – Bouncy, sunny music with Bob talk-singing the vocals. Love the acoustic guitar playing on this track. Sounds a lot like a Boston Spaceships song. “This guy has had his hand in everything – duels at sunset, espionage, arch nemesism, marriage wrecking – you name it.” (7)
11. Cameo of a Smile – Super catchy song with excellent short blasts of guitar. That chorus has been stuck in my head on and off for years now. Those “Dum-dum-dum-dum’s” thrown in there are a creamy delight. Great shredding solo for a bridge. So many hooks stuffed into a 1:37 song. “Leave on good terms… Say goodbye.” (9)
12. Poet Bums – We get the rare fade-in on this track. Has that classic, mid-tempo charge to it which reminds me a bit of “The Cost of Shipping Cattle” off the excellent 2001 Airport 5 album, Tower in the Fountain of Sparks. Bob utilizing more of the talk-singing that he typically incorporates into the more sinister-sounding songs. It serves this track well as he spits out those stream-of-consciousness lyrics. Very nice spacey synth additions from Tobias. “Come out from downer space for a cherry pie.” (8)
13. How Many Stations – Solid guitar riff meets a very Circus Devils-sounding synthesizer. Creates a power pop/prog rock hybrid of a song. “I thought about your words - the fuck it could have been.” (6)
14. His Knighthood Photograph – Opening sounds very similar to the fantastic Lexo and the Leapers track, “Alone, Stinking and Unafraid.” From there, it transitions to a Gillard-era-sounding GBV track that would’ve fit in well on Earthquake Glue. The Fading Captain puts this track to rest. “So what if summers turn to winters. We’re still having good times.” (7)
15. Face Down – I find it interesting that a song with “Face” in the title sounds like it could’ve come from an album whose acronym is FaCE (From a Compound Eye). I dig the weary vibe of the arrangement. Some top-notch noodling from Pollard. “And you’re no creep of mine, just ‘cus you made the page.” (7.5)
16. We All Got Out (of the Army) –This one comes out of the gate as an up-tempo, pop-punk blaster. It incorporates some atmospheric prog before moving back and forth between the two genres. The guitar riff here is filthy. We get some more Circus Devils-esque talk-singing on song that rails against the fast-paced direction greedy American consumer-driven society is headed. “Discontent and anger are the devils on each shoulder, missing an angel who’s gone silent in America.” (9)
17. Faster to Babylon – The album concludes with a heartfelt, but depressing acoustic track. Some doom-filled strings and synths added, giving it a very ominous and menacing vibe. Blink and you will miss it, but it bears repeated listenings. A unique-sounding song in the massive Pollard songbook. “And this will not be the title track, though we thought maybe it should.” (7)
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artdent
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Re: Guided by Voices/Robert Pollard

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I'm a little late to comment, but Elephant Jokes might have the best 1-2-3 punch of any Pollard solo album. I'm actually (comparably) kinda new to the the GBV thing, having owned and liked the best-of CD in the 90s, but never really getting into them until seeing the "classic lineup" live a few years back. And then it was on. After digesting GBV proper, I dipped my toes into Pollard solo, and was initially underwhelmed. I don't recall in what order I listened, it certainly wasn't chronologically. But just when I was about to write the whole thing off, I popped Elephant Jokes on, and was blown away. So it holds a special place, etc, etc.

And then I heard Honey Locust Honey Tonk! But more on that later I assume.

Keep it up please cotez the K!

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cortez the killer
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Re: Guided by Voices/Robert Pollard

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artdent wrote:I'm a little late to comment, but Elephant Jokes might have the best 1-2-3 punch of any Pollard solo album. I'm actually (comparably) kinda new to the the GBV thing, having owned and liked the best-of CD in the 90s, but never really getting into them until seeing the "classic lineup" live a few years back. And then it was on. After digesting GBV proper, I dipped my toes into Pollard solo, and was initially underwhelmed. I don't recall in what order I listened, it certainly wasn't chronologically. But just when I was about to write the whole thing off, I popped Elephant Jokes on, and was blown away. So it holds a special place, etc, etc.

And then I heard Honey Locust Honey Tonk! But more on that later I assume.

Keep it up please cotez the K!
Yeah, I don't know if it was Bob getting back to playing guitar or not, but Elephant Jokes is a strong solo record that comes charging out of the gate. As I mentioned in my write-up, it was originally envisioned as a thirty-two track double album before getting paired down to what it is. Here's the tracklist for what it would've been:

Side A
1. Night Ears
2. Things Have Changed (Down in Mexico City)
3. Tired of Knocking
4. Dropping the Bomb
5. Spectrum Factory
6. Candy Machine
7. Johnny Optimist
8. I Felt Revolved

Side B
9. Symbols and Heads
10. Tattered Lily
11. Parts of Your World
12. Perverted Eyelash
13. Stiff Me
14. I’ll Come (And When It Does It’s Mine)
15. Compound X
16. Pigeon Tripping

Side C
17. Jimmy
18. Epic Heads
19. Newly Selected Dirt Spots
20. Desiring
21. Accident Hero
22. Blind Rifles (Cochise)
23. The Annex
24. Out of the House

Side D
25. Hippsville (Where the Frisbees Fly Forever)
26. 100 Colors
27. Blown Out Man
28. Cosmic Yellow Children
29. When a Man Walks Away
30. (All You Need) To Know
31. Naked Believer (I Am)
32. Architectural Nightmare Man

The discarded tracks wound up on Suitcase 3, making it possible to recreate the double-album Elephant Jokes on Spotify.

Elephant Jokes Double Album
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Re: Guided by Voices/Robert Pollard

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"Silk Rotor" live @ Canal Street Tavern, Dayton, OH 7-9-10
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "We All Got Out (of the Army)"
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Re: Guided by Voices/Robert Pollard

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Moses on a Snail (2010)

It only took four months for Pollard to drop his second solo album of 2010. The album cover for Moses on a Snail has always cracked me up. It gives the impression that Bob has crafted his Yacht Rock masterpiece. Where are the Soft Rock Renegades when you really need them? If you are one to judge a book by its cover, you might pass on this one. And if you do, like I did for many years, you will be missing out. From the release notes:
Moses on a Snail contains a dozen amazingly strong Pollard compositions. Even for this ridiculously prolific songwriter, this was a notable writing session as 10 of the 12 songs were written in one sitting.

As Pollard describes the process, he started with a notebook of working song titles, and penned 22 songs in a single afternoon's creative burst. He discarded 12, and ten songs were picked to later revise and flesh out. He made demos to send to frequent producer / collaborator Todd Tobias, who recorded the instruments before Pollard recorded his final vocals.
It is hard to believe the songwriting process comes that easily for Pollard. Is he being coy? Fellow musician and fan, Eddie Vedder, whose band Pollard once opened for, seems to think so. From Vedder:
"It sounds to me like Robert Pollard uncharacteristically took ten years to make this one. He will tell you otherwise, but I don't believe him. It's too fucking good. If it were any other group this would be seen as their masterpiece. I think for Bob it's just another good day of weaving words into a kaleidoscope of one of a kind, thought-provoking perspectives.”
Creative process aside, Moses on a Snail is unlike any of its predecessors. The overall mood here is a bit more solemn and introspective. This is not an album loaded with quirky pop songs, big hooks and soaring choruses. It is not packed with fist-pumping anthems. Absent are the miniature snippets and alterations of fidelity. This is a great record to pull out on a rainy day or when the leaves start to change color, the nights start getting nippier and the days shorter. There is a bit of unevenness overall, but when Pollard makes contact, he crushes it. It took me a little bit to warm up to this album, but I’ve come to really appreciate it.

1. The Weekly Crow – One of the more mellow openers to a Pollard album. Bob explores the lower range of his pitch, electing to utilize a baritone voice. From there, he goes through a range of vocal stylings. A cello is added to help set the more somber mood on this subdued, plodding track. “Dead ringers for your trees. Slave agents for your knees.” (6)
2. A Constant Strangle – Still brooding and plodding, but electrified and given some extra rhythm section thump. Has a bit of a Pearl Jam vibe and Bob even sounds a bit like Eddie Vedder. Lyrics reference The Crawling Distance’s “No Island.” I imagine this takes on new life in a live setting. (7)
3. Arrows and Balloons – Bob lightens the mood on this bouncy, breezy shot of creamy delightfulness. The return of those hooks and melody. Tobias adds some very faint strings and synth shadings that really fill this out perfectly. A ray of sunshine making its way through the dark, grey clouds. If someone were to ask what song best captures the pop side of Bob’s songwriting, this song just might be my answer. “I have made a run, catch The Beatles, too.” (10)
4. Lie Like a Dog – Back to the grungy, heavy plodding place occupied by “A Constant Strangle.” However, instead of sounding like Pearl Jam, the track starts out sounding a lot like Soundgarden. About halfway through, the song catches a second wind and the tempo kicks up before settling back into that dark place. (6.5)
5. Ice Cold War – Great opening guitar riff and I love the way Bob belts out the chorus – “Ice! Cold! Waaar!” Love the dichotomy of the relentless, pounding rock riff verses and the soaring Gabriel-esque hooky choruses. Another track that sounds like it would kill in a live setting. I can only imagine what Doug Gillard would do with this one. Rock God Pollard on full display here. Such a great, sneering song. “Round face, with a carapace of ice.” (9)
6. Each Is Good in His Own House – Springy, playful bass line kicks this one off. Makes you think you might be getting a creamy pop song in the vein of Robert Pollard Is Off to Business’ “Weatherman and Skin Goddess.” Nope. From there, we get a hybrid happy/sad clown track. Love Bob’s vocal pacing on this song with more well-placed string sections from Tobias for that extra emotive boost. Beautiful, melodic choruses. Then those “La lala la lala lala lala lala la’s” get dropped on you during the outro and you have no choice but to tap out, crushed by an avalanche of hooks. “God drives a Cadillac, he pays my salary so I'll come back.” (10)
7. How I’ve Been in Trouble – Huge synth swells by Tobias pitted against a very depressing vocal performance from Bob brings some prog to the party. I feel like this has potential, but never really finds its footing. (5)
8. It’s News – After bringing some prog to the record, Bob and Todd move into some post-punk, Devo-inspired territory that they’ve mined pretty heavily with their Circus Devils universe. At 1:53, it is the shortest track on the album and serves as a bit of a shot in the arm from some of the slower heavier material here. (5.5)
9. It’s a Pleasure Being You – Bob settles back into a quieter, more reflective place. If there is a song that would best serve as the soundtrack for the cover art, it’s this one. Sounds like a lost 60s sunshine pop hit. “Gay or white, black or blue, it’s a pleasure being you.” (7)
10. Big Time Wrestling – Great, crunchy guitar riff powers this track. Sounds like an outtake from Standard Gargoyle Decisions which finds it a bit out of place on this album. Bob loading up the playful, goofball lyrics. “That’s what she said. Get the mops out.” (6)
11. Tear Drop Paintballs – The quintessential “sad clown” Pollard song. Fidelity drops a tick on this track. Not as powerful as a stand-alone song, but well sequenced in serving as the bridge to the blustering title track closer. “They have balls. Now they see.” (6)
12. Moses on a Snail – Colossal, epic sledgehammer of a closing track. The balls referenced in the previous song are dropped here and they are massive. Holy shit, does the outro of the song get the hairs on the back of your neck to stand at attention. Bob expertly channels his 70s rock bombastic side. “You lead the way, we follow, very slowly… Moses on a snail.” (10)
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "The Weekly Crow"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Each Is Good in His Own House"
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Re: Guided by Voices/Robert Pollard

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"Moses on a Snail/Things Have Changed (Down in Mexico City)" live @ at Canal Street Tavern July 9, 2010
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Re: Guided by Voices/Robert Pollard

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Pearl Jam w/ Robert Pollard "Baba O'Reilly" live @ US Bank Arena in Cincinnati, OH on June 24, 2006
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Re: Guided by Voices/Robert Pollard

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Space City Kicks (2011)

The first Pollard album of 2011 was released in the midst of the buzz surrounding the Guided By Voices classic lineup reunion tour. Space City Kicks is an eighteen-track LP that has a total running time of just over thirty-six minutes. The record possesses a similar scattershot, patchwork feel and flow as 2009's Elephant Jokes. Refusing to settle on any specific influence or genre, the album is revered by those fans who favor the “everything including the kitchen sink” approach Pollard has taken on past projects. I love this editorial review for the album on Amazon:
Space City Kicks, an 18 song compendium of Bee Thousand-sized sonic chunks that range from noisy pop to poppy noise but mostly just R-O-C-K. Except the ballads, which are melancholy in a way Dwight Twilley never was, making it a mystery why Pollard posed for a recent promo picture with what is clearly Twilley's guitar (and Rod Stewart's Vans, but that makes perfect sense).
Known for his eccentric song titles, Bob takes that a step further here. All the songs on Space City Kicks are the result of scrambled classic song titles. For example, “Woman to Fly” might be taken from “Elderly Woman Behind the Corner” and “Given to Fly” and “Something Strawberry” could be the result of “Something” and “Strawberry Fields Forever.” The creative process on Space City Kicks follows the tried and true formula the pair have used for almost a decade - Pollard demos w/ guitar parts --> Tobias instrumentation --> Pollard vocals --> Tobias mixing/mastering. This is an eccentric record with a very disjointed flow, making it a challenging listen. Some fans have described it as a hybrid Circus Devils/solo Pollard record that reatures abrupt stylistic transitions from one track to the next. It took me a little time to completely warm up to this album, but I do like it quite a bit. One minute you are listening to a smooth, creamy pop song and seconds later an avant-garde, discordant Pollard/Tobias noise stew. Not surprisingly, this was one of the lower-rated Pollard solo album among the critics.

1. Mr. Fantastic Must Die – Schizophrenic, disorienting opener that introduces the world to the new punk/psych/prog music genre. Would serve as a great soundtrack for a battle scene featuring an attack from the Wights on Game of Thrones. Love the distorted guitar solo in the outro. Bob and Todd sneaking another Circus Devils track on a Pollard solo record. “Mesmerizer reach the sky, piss on him and he will cry.” (7)
2. Space City Kicks – Lurching garage-punk rocker. Love the relentless, menacing guitar riff. The song eventually gives way to some ominous, proggy synths swells before descending into what sounds a creepy, chaotic tunnel. “And space city rockers get space city kicks.” (7.5)
3. Blowing Like a Sunspot – First mini song of the album (1:16) has an atmospheric, Earthquake Glue-like feel to it. Does a masterful job of transitioning the listener from the harsh, experimental-sound of opening two tracks to the creamy goodness to follow. “Blowing like a lame excuse in truth disguise.” (8)
4. I Wanna Be Your Man on the Moon – Bob is in possession of the secret formula for crafting the perfect power pop song – just the right amount of punch with the appropriate injection of sweetness. It is long enough to reel you in and short enough to leave you wanting more, reaching for the repeat button. “Gaze through the earth in the lamp of your life.” (10)
5. Sex She Said – In rolls the big, dark storm cloud. It can’t be all Zip-a-Dee-Doo-Dah. Harsh for the sake of harshness with “Sex she said…” repeated over and over. “Don't fuck up my respiration. Don't frisk me when I'm down. Don't tickle my inspiration.” (4)
6. One More Touch – Out from the darkness and back into the light with this breezy splash of soft rock goodness. Sounds like an outtake from Moses on a Snail. Tobias adds some very dramatic-sounding synths halfway through to lift this off the ground a bit. Not an earth-shattering song, but a very pleasant listen nonetheless. “Our world paralyzed, realized with one more touch of your love.” (7)
7. Picture a Star – The nightmare carnival is back in town. Unsettling music arrangement with Pollard’s super distorted vocals turning up the creepy factor significantly. (3)
8. Something Strawberry – Ups the ante on the power pop perfection. This is one of the sweetest, catchiest songs in the entire Pollard catalog. I simply can’t get enough of this one. And it’s all done in under a minute and a half. “And give her lots of wine, keep her happy in her sunshine. And don't talk about the old ghosts, they don't haunt you in your prime.” (11)
9. Follow a Loser – Things move back into that mid-tempo, plodding rocker zone that Bob and Todd have been occupying a good amount recently. One of the more straightforward, traditional tracks on the album. Not super flashy, but a well-constructed Pollard rock song. “One more chance, maybe she'll pay out.” (7)
10. Children Ships – Another song that settles into that Circus Devils-esque zone of the Pollard/Tobias collaborative side project. Tobias is able to create this repetitive wind gust type of sound effect that sounds like some crazily-distorted cello. It’s a bit puzzling on first listen, but I now dig it. This track heavily mines the prog and psych components of the 4 Ps. “The sound of my voice is the least of my worries. There are thousands of me, plus someone.” (7.5)
11. Stay Away – Oh, how I wish this was twice as long. Clocking in at a mere 1:06, this song immediately grabs you, throttles you and then discards you just as you are getting going. Has that classic-era GBV aesthetic in spades. Why must you tease us like this, Bob? “You watch yourself as though you're in a play.” (9)
12. Gone Hoping – Fractured, acoustic beginning gives way to power chords. Bob mirrors the musical dichotomy by sound-shifting his vocals from upper-range and tender to low-range and menacing. Sounds like more of a song idea/fragment than a fully-realized one. (5)
13. Into It – Acoustic ballad with maracas keeping the rhythm. Bob’s voice, front and center, sounding excellent. Has a bit of a Kid Marine vibe to it. “And I paid my pills and I'm on my knees. I'm into it.” (6.5)
14. Tired Life - The longest track on the LP (3:38) is a plodding, heavy rocker which sounds like another outtake from Moses on a Snail in its 70s Rock God aspirations. Bob’s ability to expertly maneuver between a wide range of stylistic genres will never cease to amaze me. Plenty of hooks to be found here. “My cup of tea used to be the dying sun.” (7.5)
15. Touch Me in the Right Place at the Right Time – Another track that bring to mind mid/late-90s GBV. While not official released as a single, it was the first track available for free download at GBVDigital.com with a download code on cards given out at tour dates on the Hallway of Shatterproof Glass Tour. While the title and lyrics have a hint of perversion and are stupid simple, this is another sugary-sweet, AM gold Pollard earworm. “Touch me in the right place at the right time. That would be nice.” (9)
16. Woman to Fly – Such a uniquely Pollard song. The fidelity takes what sounds like a bit of a downturn, but in a perfectly-suited fashion. Love the sound and texture of the strummed acoustic guitar loop. Fantastic vocal melody from Bob. Simultaneously sunny and murky vibe going on. Just the right touch of strings from Tobias. Song creates a nice, relaxed hazy vibe. Reminds me a bit of Airport 5’s “Total Exposure.” “I don't want to bum you out, got nothing to buy.” (10)
17. Getting Going – Big, fuzzy guitars return on this cock rock stomper. Would’ve fit in very well on Standard Gargoyle Decisions. “I was tired and out of love and finally not alone.” (7)
18. Spill the Blues – Lo-fi, demo-sounding acoustic ballad with some random studio noises worked in. Major Suitcase feel to the closing track. (5)
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Something Strawberry"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Touch Me in the Right Place at the Right Time"
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Re: Guided by Voices/Robert Pollard

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Re: Guided by Voices/Robert Pollard

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Great write up of Moses on a Snail. I really really think it is an overlooked album and it somehow paradoxically makes me happy despite the dour content. Maybe I am broken. And I love the cover!

Also love the cheesy swagger of the Space City cover but not as consistently good as an album.

I really need to find more time to sit with these reviews but again, thanks. There is so much I need to revisit.

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Re: Guided by Voices/Robert Pollard

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Lord of the Birdcage (2011)

2011 was a very busy year in the Pollard universe. In addition to two solo albums, he released a Circus Devils LP (Capsized!), two side projects (Waving at the Astronauts/Lifeguards, The New Theory of Everything/Mars Classroom) and a final Boston Spaceships double album (Let It Beard). Oh yeah, he also embarked on a huge GBV classic lineup reunion tour, The Hallway of Shatterproof Glass Tour. For his second solo record of the year, Pollard decided to mix things up a bit. He would set the music to poems he had written while on the GBV reunion tour. Bob also skipped the boom box demo part of the process and went right into Tobias’ studio to lay down both guitar and vocals. Once they were complete, Tobias added additional instrumental parts and handled the mixing. The process yielded a tight, twelve-song LP that clocks in at just under thirty-four and a half minutes. It’s a well-rounded, melodic rock record that eschews some of the avant-garde, proggy impulses of its predecessor, Space City Kicks. Pollard plays it mostly straight on Lord of the Birdcage, choosing to explore mostly the pop vein of the 4 Ps, occasionally adding some punk to the equation. He also moves away from including photos of himself on the cover, going back to an original, Bee Thousand-like collage. The more melodic, hooky approach on the album garnered predominantly favorable critical praise. Amazingly, despite a multitude of releases and reunion tour with his old band during the calendar year, Pollard managed to craft one of the more consistent solo LPs of his career with Birdcage.

1. Smashed Middle Finger – The record kicks off with a multi-part track packed into just over three minutes. Part 1 is a nice acoustic ballad that lasts just over a minute and a half. Part 2 brings some punk snarl and is relatively brief. The final part is a repetitive soaring chorus. Solid opener to the record. “I’ve got a smashed middle finger, I wanna give to the world…” (7.5)
2. Aspersion – Has a similar churn as 2007’s Coast to Coast Carpet of Love song, “Rud Fins.” That great riff powers this pop-punk swirling song. Sounds like it ends at the 1:46 mark and then surprises you by reemerging in an entirely different form. “Coming like a new perversion, aspersion…” (8)
3. Dunce Codex – Fantastic, mid-tempo melancholic masterpiece. Love how Bob delivers the vocals in such a detached manner. Guitar tone and style has a bit of a Neil Young feel to it. Easily, the highlight of the album. “How do the cows keep coming just to run through the grinder? Please excuse me, I've lost my girl and I need to go find her.” (11)
4. Garden Smarm – Another great pop-punk charger with a super hooky chorus. Some excellent guitar work throughout. Excellent bassline by Tobias, too. “Garden smarm, hell of a war. Chain the lawnmower down for the winter.” (8)
5. You Can’t Challenge Forward Progress – Title sounds like a play on some football vernacular. Relatively brief song with some neat doubled-tracked vocals in the chorus. “They say the dead shall rise again.” (6)
6. In a Circle – Gorgeous acoustic ballad. Love the running of the pick along the guitar strings. That opening reminds me a bit of Neil Young’s “Bandit.” Might be the best singer-songwriter, acoustic ballad Bob’s ever done. It’s that good. “Come to the width of our circle. Stiff-arm your way to the middle.” (10)
7. You Sold Me Quickly – Side two opens with the shortest track on the album (1:42). Tobias’ production flourishes all over this one. Another great riff combined with a great Tobias bassline. (6.5)
8. The Focus (Burning) – Another venture back to the acoustic ballad zone with several dramatic pauses worked in. Sounds like an outtake from the 2007 EP, Silverfish Trivia. (6)
9. Ribbon of Fat – Big, beefy guitar to open that sounds somewhat like Faces’ “Miss Judy’s Farm.” “Evil dog and the rats in the skull arena.” (6.5)
10. Silence Before Violence – Although it’s only 3:20 long, has a song suite feel to it with it stylistically varied sections. Shades of Genesis meets The Who’s “Love Reign O’er Me” on the only track that seems to carry any trace of prog that has been featured more prominently in the Pollard/Tobias solo era. “Please make it rain.” (7)
11. Holy Fire – The Wire influence returns on this art rock/krautrock-styled song that shares a similar vibe to 2009’s “Faking My Harlequin” off The Crawling Distance. “Please believe it. There will be holy fire.” (7.5)
12. Ash Ript Telecopter – It’s driving me crazy, but I can’t figure out which song that opening driving riff reminds me of. A hodgepodge of influences here – pop, prog, post-punk, glam, but the Wire influence looms largest again. Unique vocal cadence utilized by Bob here. Another top-notch Pollard closing track, packed with hooks. “On the dark side of the time zone. He’s on the dark side in his bleed-through suit. ” (10)
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Silence Before Violence"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Ash Ript Telecopter"
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Re: Guided by Voices/Robert Pollard

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cortez the killer wrote:
1. Over the Neptune/Mesh Gear Fox – “G-B-V! G-B-V! G-BV-!” Love the irony of a band that’s been largely relegated to the studio kicking off the album with recorded snippets of what sounds like a frenzied audience chanting out the band’s letters. I say sounds like, because the band hadn't played a true live show in years and was forced to create the moment themselves (with friends) in the studio. We get our second “slash song” and what a fuckin’ slash song it is. It isn’t my #1 GBV song, but if you asked me to name the quintessential Guided By Voices track, I’d be hard-pressed not to answer “Over the Neptune/Mesh Gear Fox”. To this day, and forever, I will lose my shit when those guitars kick into high gear at the 1:25 mark. (10)
This!!
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Re: Guided by Voices/Robert Pollard

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RolanK wrote:
cortez the killer wrote:
1. Over the Neptune/Mesh Gear Fox – “G-B-V! G-B-V! G-BV-!” Love the irony of a band that’s been largely relegated to the studio kicking off the album with recorded snippets of what sounds like a frenzied audience chanting out the band’s letters. I say sounds like, because the band hadn't played a true live show in years and was forced to create the moment themselves (with friends) in the studio. We get our second “slash song” and what a fuckin’ slash song it is. It isn’t my #1 GBV song, but if you asked me to name the quintessential Guided By Voices track, I’d be hard-pressed not to answer “Over the Neptune/Mesh Gear Fox”. To this day, and forever, I will lose my shit when those guitars kick into high gear at the 1:25 mark. (10)
This!!
Whenever I put together GBV or Pollard playlist, it's always a challenge to decide which song is the opener, "Over the Neptune/Mesh Gear Fox" or "A Salty Salute." The latter tends to get the nod, but you can make as strong a case for the former. The sound of a band just beginning to realize their creative powers.
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Re: Guided by Voices/Robert Pollard

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Mouseman Cloud (2012)

Sandwiched between the GBV comeback LPs, Let’s Go Eat the Factory, and its successor, Class Clown Spots a UFO, is Pollard’s nineteenth solo album, a seventeen-song affair that cruises by in thirty-three and a half minutes. And while I tend to prefer the Pollard-created collage covers, this is a pretty cool black & white photo of Bob. According to the release information, “the emphasis on Mouseman Cloud is on wordplay rather than melody, on unkempt exploration rather than traditional song structure.” Once again, Pollard teamed up with producer/multi-instrumentalist Todd Tobias in Todd’s Waterloo Sound studio in Brecksville, OH. Pollard supplies the guitar and vocals and Tobias takes care of the rest. All 4 Ps are equally incorporated here and Pollard pulls a bit of a snow job in his description of the album. While it may be true that wordplay played a big role in the conception of Mouseman Cloud, it still contains a strong sense of melody and there are plenty of hooks to be discovered. It shares more in common with recent albums like Space City Kicks and Elephant Jokes in its structure (higher number of tracks with the majority of them lasting less than two minutes) and stylistic diversity (liberal sampling of the 4 Ps). The previous album stayed pretty close to the power pop/garage punk realm, whereas Mouseman Cloud delves a bit more into the psych and prog territory that Pollard and Tobias are known to mine. This one got overlooked with all the hoopla and excitement surrounding the GBV reunion albums and tour, but it is another really strong Pollard album. It’s funny to read some of the less positive reviews of this album. I feel like Bob just buries fans and critics with an avalanche of material and a sizeable amount just lazily dismiss some of the side projects. Now that GBV was back, it was as if it were assumed there was simply no way Pollard could have enough good material left for solo records and side projects like Lifeguards and Mars Classroom. However, the proof is in the pudding. It simply boils down to whether or not you have the time and energy to invest yourself into all the material Bob throws at you.

1. Obvious #1 – Another well-crafted power pop track to add to the Pollard canon. The lyrics are a bit on the simple side, but, man, does this song reel you in with its bounce. Another great opening track on a Pollard-associated record. “To let the bright light in to where metropolis builds its jungle gyms.” (9)
2. Picnic Drums – Look no further than the song title to get a sense for this one. Tobias incorporated an undercurrent of pounding tom toms to really highlight the percussive charge of this track. This is a catchy, prog-kissed pop song with some excellent drums and production provided by Todd. “Can you hear the ice cream man? Can you feel the ants on fire?” (8)
3. Mouseman Cloud – The surrealist lyrics are front and center here. Tobias brings that Circus Devils psych flair to this track, but there is a bouncy, playful vibe instead of that ominous, dark one that many of that side project’s songs feature. According to Todd, “I went directly for a Circus Devils vibe by way of early Devo.” “Pigs in the oyster dip squeal for the oxygen drip.” (7)
4. Dr. Time – Bob returns to his power pop wheelhouse. This song shares a similar riff to “Billy Wire” which would appear a few months later on the second GBV reunion album, Class Clown Spots a UFO. It pulls you right in and takes you on a whirlwind ride before booting you off after one minute. There aren’t many one-minute songs out there that are as excellent as this one. “It’s here for your protection, but don’t wait too long. Bye, bye!” (8.5)
5. Lizard Ladder – The album moves from the sunny power pop to a dark and gloomy psych stomper. Now that Bob had GBV back as his primary songwriting outlet, I feel like Todd felt more inclined to bring that Circus Devils avant-garde aesthetic more prominently into these solo records. That is pretty clear on this track, at least. “They raise their dead Hemmingway heads like heroes in the stream, through hot butterfly dreams.” (6)
6. Human Zoo – The song snippet returns to a Robert Pollard solo record! Not only does it return, this oddball, spacey slice of Pollard pop is catchy as hell and ends far too soon. “What will you do when the human zoo starts to look in on you?” (7.5)
7. Bats Flew Up – The guitar tone on this garage-punk stomper is flat-out filthy. The loose, wet production here brings to mind Todd’s work on 2003’s Earthquake Glue. According to Tobias, this is one of three tracks on the LP where he utilized 8-track tape to achieve the sound. Well done, Todd! Well done! “And now the hive is so alive beneath the buzz of common fuzz.” (9)
8. Mother’s Milk and Magnets – Multi-part song suite with Pollard spending the majority of the second part repeating the chorus over and over to a chugging guitar riff. Another gloomy, Circus Devils-styled track that dials up the prog factor. That guitar solo during the outro is top-notch. “In light-hearted weirdness or the strange smile of television.” (6)
9. Continue to Break – Another song with a similar structure and aesthetic as the previous track. It even manages to incorporate a repeated chorus in the second half. “Grandfather blues continues to shoot up the 6 o’clock news…” (6)
10. I Was Silence – Back to the garage-punk thump previously visited on “Bats Flew Up.” Some excellent shredding by Tobias, who handles the guitar work on this track. “Then you came along, like a new King James, with fresh red pants, talking summer and saints.” (7)
11. Smacks of Euphoria – Pollard spitting out surrealist vocals over a more minimal instrumental treatment from Tobias. This one dials up the weird more than some of the others. “Send out a little shape-shifting shit from a hutch of waddle and daub.” (5)
12. Science Magazine – Another song recorded on the 8-track tape by Tobias. And although Todd wasn’t involved on the record, this one has that left-of-center, jangly pop feel that several of the tracks on 1998’s Waved Out feature. I also hear shades of “Weatherman and Skin Goddess” on this one. Another example of those unique pop oddities that Pollard seems to effortlessly crank out. “I work for Science Magazine – astronaut, engineer and photographer.” (9)
13. No Tools – Opening guitar part has a bit of that Neil Young & Crazy Horse Zuma-like burn to it. In fact, the guitar playing on this song is outstanding. Love how this song limps toward its conclusion before completely falling apart. “No pen in hand, I am no man. I have no plan. I am no Poe.” (7)
14. Aspirin Moon – Bob dials up the up-tempo, bouncy pop on this R.E.M.-like chugger. The jangle heads will love this one. “Asteroid letters arrive where the feet keep clean.” (8)
15. Half-Strained - Wailing, distorted organ to kick things off before a simply-strummed guitar comes in. Bob unleashing some more of his absurdist poetry. “I’m Wonder Bread; I’m Superman in a half-zipped body bag.” (5)
16. Zen Mother Hen – Another Circus Devil-type track that sounds like it could’ve come from the Gringo sessions. Love that powerfully-strummed guitar riff that recirculates throughout the song. “So just say it, don’t spray it. Be happy.” (7)
17. Chief Meteorologist – Those smoldering Ditch/Zuma-like guitars return on this great melancholic closer. Some unsettling, ominous proggy synth bring some fantastic atmospherics to the track. Love the double-tracking of Bob’s vocals in the latter half of the track. Not as immediate as some of the material on here, but this one will cover and engulf you over time like kudzu. (8)
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Re: Guided by Voices/Robert Pollard

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cortez the killer wrote:
RolanK wrote:
cortez the killer wrote:
1. Over the Neptune/Mesh Gear Fox – “G-B-V! G-B-V! G-BV-!” Love the irony of a band that’s been largely relegated to the studio kicking off the album with recorded snippets of what sounds like a frenzied audience chanting out the band’s letters. I say sounds like, because the band hadn't played a true live show in years and was forced to create the moment themselves (with friends) in the studio. We get our second “slash song” and what a fuckin’ slash song it is. It isn’t my #1 GBV song, but if you asked me to name the quintessential Guided By Voices track, I’d be hard-pressed not to answer “Over the Neptune/Mesh Gear Fox”. To this day, and forever, I will lose my shit when those guitars kick into high gear at the 1:25 mark. (10)
This!!
Whenever I put together GBV or Pollard playlist, it's always a challenge to decide which song is the opener, "Over the Neptune/Mesh Gear Fox" or "A Salty Salute." The latter tends to get the nod, but you can make as strong a case for the former. The sound of a band just beginning to realize their creative powers.
Both great songs. The definition of garage/underground rock anthems (or something).
Fa-Fa-Fa-Fa-Fa

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cortez the killer
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Re: Guided by Voices/Robert Pollard

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Jack Sells the Cow (2012)

Pollard’s second solo record of 2012 and the fifth Bob-affiliated release of the year (the other three being the GBV reunions LPs) takes its title from the children’s fairy tale, Jack and the Beanstalk. In case you haven’t heard yet, Bob was once an elementary school teacher. He’s also incredibly prolific and likes to drink a lot. Jack Sells the Cow packs a dozen tracks into just over thirty-two minutes and is the second album cover (Moses on a Snail being the other) to feature Pollard staring pensively out toward a body of water. It is certainly one of the tightest albums Pollard has ever crafted, solo, with GBV or any of his numerous side projects and creative outlets. Up until recently, I hadn’t spent much time with this album, save for culling “Pontius Pilot Heart” and/or “Red Rubber Army” for a mix or playlist. Perhaps it’s a case of me experiencing some post-Pollard fatigue high, but this record has been a very pleasant discovery. Whatever the reasons may be, Jack Sells the Cow is an excellent, straightforward Robert Pollard rock album. To my ears, this is one of Todd Tobias’ finest moments as a producer. Todd explains his approach on Jack Sells the Cow:
I think of this one as the bar band album because of the sparse arrangements. It has an elegant simplicity that sets it apart from Bob’s other solo albums that I produced. To my ears there are touches of Americana here and there. My job was not to put my foot in where it didn’t belong by keeping things stark and focused. The thing was to allow Bob’s vocal and main guitar to carry the songs. For the most part my musical expressiveness was limited to the bass guitar. Apart from “Red Rubber Army” and “Who’s Running My Ranch,” the songs did not ask for any special treatment.
Another factor that foolishly gave me pause to dive into this one sooner is the critical reception. It is one of the lowest-rated Pollard releases of all time. I certainly don’t hear it, but again, I think the sheer volume of material Bob releases negatively affects the manner some of his projects are received. The album’s release notes certainly seem to have seen the lukewarm reception coming:
The superabundance of melody and densely packed stylistic swerves and flourishes on Jack rival anything Pollard’s recorded recently, and while five albums in a year might strike some as overkill, you have to imagine his relentless output is a less-than-calculated move—a smarter businessman would hold back product so as to build demand, but Robert Pollard has never been a businessman. He’s an artist, full stop, at a time when it seems that every artist / musician is expected to have an MBA. He’s scrapped enough proposed albums to fill many another group’s entire discography; he puts out records because he likes the records. And he hopes you’ll like them too.
1. Heaven Is a Gated Community – Opening song rumbles out of the gate sounding like a companion piece to the mighty closing title track on Moses on a Snail. Again, those guitar tones rival the power and snarl of those on the Neil Young & Crazy Horse classic, Zuma. Really love how Bob and Todd have embraced this kind of sound on the last few projects. This song would SMOKE live. Nice touch by Tobias with the ambient noises during the outro. “Run for aloof and twisted observations, supernatural airports and obstacle courses.” (10)
2. Take In – Track two rocks, but with a much lighter tone than the opening one. We have another excellent power pop song to add to the Pollard songbook. One of the two songs on the LP where Bob assumes lead guitar duties. Really fun, loose vibe on this one. “Take in the facts you compromise. Take in the gloss you realize.” (8.5)
3. Who’s Running My Ranch? – Starts out with some spliced-in, distorted audio from a movie Tobias found starring Gabby Hayes. Music arrangement moves back and forth between ominous prog and creamy power pop. Sounds like an outtake from the excellent Pollard/Gillard side project Lifeguards album, Waving at the Astronauts. “Every advice is on, but there’s no one in sight.” (8)
4. Up For All That – A bit of a slowed-down, easy listening type of song that features some very nice guitar work from Bob. Has a strong Moses on a Snail feel to it in that it’s a relatively somber, introspective song with little interest in vocal melodies or hooks. (6)
5. Pontius Pilot Heart – This bouncy track reconnects with Pollard’s R.E.M.-tinged past. This is a perfectly-crafted jangle pop track, featuring excellent melodies and hooks. The unquestioned “hit” of the album. “You know I don’t make the rules. I know how you suffer fools.” (10)
6. Big Groceries – Most of the Pollard solo material sounds just like that – solo Pollard. This one definitely has a GBV feel to it. A great mid-tempo power pop churner with a great hooky chorus. Nearly impossible not to bop your head along to this one. At 2:04, the shortest track on the record. “Now I’m as true as true can be.” (8)
7. Fighting the Smoke – Fuzzy, buzzing psych-rock track to turn things up a bit. That distorted guitar dominates the song. “I tried to listen with all of my power of understanding. Can't make them out with all adjectives slipping away.” (7)
8. The Rank of a Nurse – Abrupt transition to a more introspective track. Starts out with Bob’s melancholic vocals accompanied by a subtly-strummed guitar. Turns into a plodding rock song for about a minute before transitioning back to that lighter, more melancholic zone. “She turns you on and off like a flip switch.” (7)
9. Tight But Normal Squeeze – This song rocks. Can’t get enough of that guitar tone. Another song that would be incredible live. Doug Gillard would absolutely shred on this one. “In a tight but normal squeeze, you can break a proud man to use it, a loud man to lose it.” (9)
10. Red Rubber Army – Woah! This is a stunning song. Love Bob’s hushed vocals and the beautiful melody. Tobias’ production here elevates this track to elite status. Song just oozes melancholic nostalgia. Another one of those songs that is uniquely Pollardian. “They see blood, but it’s not real.” (10)
11. The March of Merrillville – Title inspired by a restaurant in Merrillville, IN. Bob said he and his wife, Sarah, were having dinner in Merrillville and their waiter looked exactly like GBV drummer, Kevin March. This weary, plodder sort of drifts along aimlessly before just coming to an uneventful conclusion. “I'm overenthusiastic, yeah I'm hyped ‘bout nothing or something at all.” (5)
12. Winter Comes to Those Who Pray – Title brings to mind Game of Thrones. Wonder if Bob is a fan. The track builds wonderfully with additional instrumental parts coming in as the song works towards its conclusion. The riff that weaves throughout the song is wicked. Some excellent drums provided by Todd on this one. “The spider aches and scrambles free. The tilted clock says nine or three.” (8)
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM

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