Guided by Voices/Robert Pollard

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cortez the killer
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Re: Guided by Voices/Robert Pollard

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Re: Guided by Voices/Robert Pollard

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this thread delivers massively.

well done.

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Re: Guided by Voices/Robert Pollard

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We’re Putting the Band Back Together (Act IV)

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With Guided By Voices in the rearview mirror, Pollard continued to record and release LPs and EPs at a blistering pace. From 2005 – 2011, he released a dozen solo records, six Circus Devils LPs, five Boston Spaceships albums, two full-length records from the following side projects – Acid Ranch, The Takeovers, Psycho and the Birds, as well as LPs and/or EPs under the following aliases – The Moping Swans, Hazzard Hotrods, Keene Brothers, Carbon Whales, Cosmos, Lifeguards and Mars Classroom. In addition to those thirty-six releases, there were 2 more GBV suitcases (American Superdream Wow and Up We Go Now) of 100 unreleased songs and snippets, a 2-CD, 50-song compilation, ironically titled, Crickets: Best of the Fading Captain Series 1999 – 2007, a few live albums and numerous singles. Pollard could not and would not stop recording and releasing material. In 2010, his old record label, Matador Records, contacted him about the possibility of playing Las Vegas as part of the label’s 21 anniversary. All Pollard had to do was decide what version of his revolving-cast-of-characters band he wanted to bring out of retirement. On June 28, 2010, Pollard announced on his website that the GBV “classic lineup” would reunite to headline the Matador anniversary, dubbed The Lost Weekend, along with a dozen other Matador bands like Sonic Youth, Pavement, Liz Phair, New Pornographers and Yo La Tengo. The original plan was to do just the one show with the classic lineup – Tobin Sprout (guitar), Mitch Mitchell (guitar), Greg Demos (bass) and Kevin Fennell (drums). However, the show went so well and the guys had so much fun playing together again that the reunion was extended to a 24-date American tour. Those feelings of goodwill stayed strong enough throughout the tour that on September 21, 2011 it was announced that a new GBV album had been recorded and would be released in January 2012. What seemed like the longest of shots eight years ago was now happening again. And not only was it actually happening, but it was with the beloved classic lineup of 1993-96. The club was open once again.





to be continued...
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Re: Guided by Voices/Robert Pollard

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Let’s Go Eat the Factory (2012)

When the 2011 reunion tour hit Chicago, the seeds for a new Guided By Voices album were sown. Pollard and Tobin Sprout started kicking around the possibility of a new record, coming up with possible titles and art ideas. From there, the decision was made to record songs the “old school” way, heading to the homes of Sprout, Greg Demos and Mitch Mitchell. Although Pollard had recorded the previous six GBV LPs professionally, in actual studios, it made more sense to him for the classic comeback album to be done “in the basement” using home recording equipment. Let’s Go Eat the Factory was co-produced by Pollard and Sprout and released on the newly-created label, Guided by Voices Inc. And although I wouldn’t rank it up there as one the band’s finest record, it is a significant album for several reasons. The most obvious one is that it marked the return of Guided By Voices. It wasn’t just the return of GBV, it was the return of the classic lineup - the same one that cranked out those iconic lo-fi albums like Bee Thousand, Alien Lanes and Under the Bushes Under the Stars. It also broke the floodgates and ushered in another creative spurt for Bob (not that he needed any extra motivation to record and release records) which led to an incredible string of six LPs in three years with the same lineup. Guided By Voices was finally back and the music universe was better for it.

1. Laundry and Lasers – Album kicks off with a late cut-in of a humming guitar line. Plenty of mid-fi distortion smeared all over the track. Sounds like an early 2000s-penned GBV track played by the classic lineup. Nice start to this incarnation of the band. (8)
2. The Head – Post-punky guitar line with mono-note blasts of organ worked in. Short, but effective. (6)
3. Doughnut for a Snowman – An older track that Bob wrote as a pretend jingle for Krispy Kreme. He almost submitted it to the company before thinking better about being known as the guy who wrote the Krispy Kreme song. It’s a quaint, light slice of folksy pop and was one of the three singles for this LP. (7)
4. Spiderfighter – This takes a few listens to truly sink in, but what a track. Tobin Sprout’s songwriting skills have matured greatly during his sixteen-year hiatus from GBV. Typically-known for his merry, Beatles-influenced, psych-pop snippets, this is a stretched-out epic that begins as a chaotic, art-rock song before transforming into a beautiful "Let It Be"-styled piano ballad. “And now is the time I make up your mind.” (9)
5. Hang Mr. Kite – Love the strings at the beginning of the song. From there, it falls off a bit. Some really weak lyrics/rhymes on this one. I feel like this one had some potential, but, much like the kite in the song, it just never takes off. (4)
6. God Loves Us – Another Tobin song. Again, he breaks form with primitive garage rocker featuring those Alien Lanes-era chainsaw-sounding guitars. Another short, but effective track. (7)
7. The Unsinkable Fats Domino – This tribute to the Rock & Roll Hall of Fame pianist was also one of the album’s three singles. The classic lineup delivers a classic-sounding, mid-tempo GBV rocker. “The water is undrinkable, except for the unsinkable Fats Domino. So be light and unsinkable, make disbelief unthinkable.” (8)
8. Who Invented the Sun – This is more the type of song one has come to expect from Tobin. A hushed, dreamy track that sounds like an early 70s Emitt Rhodes outtake. (7)
9. The Big Hat and Toy Show – Guitarist Mitch Mitchell contributes a song. I can’t say I’m a fan of it. Just sounds like the guys are screwing around in the studio after hammering down a dozen beers each. (2)
10. Imperial Racehorse – Lots of instruments packed into this track, including some horns. Sounds like a Circus Devils/GBV collaboration. (5)
11. How I Met My Mother – Title appears to be a play on the popular sitcom, How I Met Your Mother. Clocking in at just over a minute, this song doesn’t really register. (3)
12. Waves – Sprout with another very strong offering. There’s a psych/shoegaze kind of this going on here. Most of his previous songs were more like sketches and this is his second fully fleshed out track on the record, clocking in at 3:22. Love the distorted vocals and tripped-out guitar loop. (9)
13. My Europa – Warble-y guitar is the signature sound on this one. Sounds like a Suitcase song more than what you would expect on a GBV comeback record. (2)
14. Chocolate Boy – Third single from the LP. Starts out as a buzzing, mid-tempo song, before transitioning into a sweet, sentimental acoustic track. “And chocolate kings adore a chocolate painted floor. A look out down before and then the summer made a chocolate boy no more.” (7)
15. The Things That Never Need – Another Suitcase/Circus Devil-sounding track that is very avant-garde. Sounds like children reciting a story over some creepy-ass piano ripped from some bad horror movie. (2)
16. Either Nelson – “I challenge you to rock. I challenge you to proper drinking.” Sounds like one of Bob’s mantras to kick off this song which also comes from a similarly experimental well as the previous track, albeit far less creepy. I think the term ‘cacophony’ best describes the musical arrangement here. (5)
17. Cyclone Utilities (Remember Your Birthday) – The production sounds like it from one of those pre-90s GBV records. The song itself comes off more like one of Pollard’s stranger Fading Captain tunes than a GBV track. (4)
18. Old Bones – Sprout channels his inner-Pollard in producing yet another track, and one that is a bit experimental. This one is wrapped in those Berlin-years, Bowiesque synthesizers. Despite the distortion on Sprout’s vocal’s this maintains it emotional impact. (7)
19. Go Rolling Home – Just Pollard and an acoustic guitar (and a barking dog). Rough demo that, again, sounds like it should have been saved for one of the Suitcases. (2)
20. The Room Taking Shape – See above (minus the dog). (2)
21. We Won’t Apologize for the Human Race – The longest song (4:01) is saved for the end. Pollard has the classic lineup channeling their inner prog rock spirit. This is a multi-layered track with lots of different things going on. Those synths just pulsate throughout and propel the track forward. Pollard sounds a lot like Peter Gabriel here. Takes a few listens to take it all in, but this a nice addition to the band’s arsenal. “Slash forward through all suffocate. Do you enjoy coming down with the hate? Generation X lies in its sleep, innocent as angels next to Generation Z.” (8)



to be continued...
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Re: Guided by Voices/Robert Pollard

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And down goes Demos! Down goes Demos!
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Re: Guided by Voices/Robert Pollard

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Re: Guided by Voices/Robert Pollard

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Re: Guided by Voices/Robert Pollard

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dime in the gutter wrote:this thread delivers massively.

well done.
Indeed! Been enjoying this and dipping my toes in here and there whenever I find the time for it. (Missing my daily commute to work with 45 min to an hour of "useless time" which was my main way of taking in music these days prior to covid. Home office situation with 4 people in the house is not ideal)
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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RolanK wrote:
dime in the gutter wrote:this thread delivers massively.

well done.
Indeed! Been enjoying this and dipping my toes in here and there whenever I find the time for it. (Missing my daily commute to work with 45 min to an hour of "useless time" which was my main way of taking in music these days prior to covid. Home office situation with 4 people in the house is not ideal)
Thanks, fellas. With such a massive, sprawling catalog, GBV/Robert Pollard is an intimidating and confusing artist to get into. I hope this thread helps with that process for those who have ever thought of taking the plunge. He has always championed the 4 ‘Ps’ of rock and roll - pop, psych, prog & punk. Some of his material is way out there and inaccessible, but a good amount of it is brilliant. His ability to take such a wide range of influences and distill them down to his own ragged brand of music is truly amazing. I am very late to the party, but it has been a rewarding experience immersing myself in the weird and wonderful world of Robert Pollard.
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Re: Guided by Voices/Robert Pollard

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cortez the killer wrote: He has always championed the 4 ‘Ps’ of rock and roll - pop, psych, prog & punk.
Wait, what? I thought that was poppers, psilocybin, PBR, and poontang.
Now it's dark.

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Re: Guided by Voices/Robert Pollard

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Flea wrote:
cortez the killer wrote: He has always championed the 4 ‘Ps’ of rock and roll - pop, psych, prog & punk.
Wait, what? I thought that was poppers, psilocybin, PBR, and poontang.
Had to look up the second 'P', but I think you might trump Pollard on this one, Flea.
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Re: Guided by Voices/Robert Pollard

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Throwback to a 05/09/00 Late Night w/ Conan performance of "Hold on Hope".

Also covered by Glen Campbell.


Also a great song for the current times we are living in.
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Re: Guided by Voices/Robert Pollard

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Class Clown Spots a UFO (2012)

Five months after their comeback record dropped, Guided By Voices released a second “reunion” album and their seventeenth overall. Considering the short time between releases, there were no new events to report. The lineup was the same and the LP was released on the same Guided by Voices Inc. label as Let’s Go Eat the Factory. The only real difference or change this time around is sound quality. The first reunion album was recorded in band members’ homes on home recording equipment which was an obvious nod to the band’s “basement” roots. Class Clown Spots a UFO stepped things up fidelity-wise with a number of the tracks recorded in Ohio studios, Cro-Magnon Studio and Waterloo Sound. Let’s Go Eat is a significant record in that it marked the return of the classic GBV lineup and it drips with nostalgia, largely due to its lo-fi recording process. Class Clown is a step up, not only from a fidelity perspective, but in terms of the overall quality and depth of the songs. Tobin Sprout somewhat overshadowed Pollard on the previous record, providing most of the stronger tracks for that project. Sprout offers some strong tracks here, too, but Bob really steps his game up. This album drives home the fact that the band wasn’t simply back together as a sort of nostalgic, cash-grab, touring act. GBV was once again a touring and recording band, churning out quality albums two decades removed from their heyday. The sound and feel of their music on the reunion LPs is unmistakably GBV, but the material sounds new and fresh which is not easy to pull off. Class Clown Spots a UFO is a strong, late-career album that compares favorably to some of the band’s classic albums of the past.

1. He Rises! Our Union Bellboy – Other than Pollard’s heroes The Who (“Bell Boy”), not many rock bands have written songs about bellboys. This is a great, classic-sounding, mid-tempo Guided By Voices track. A very strong start to the album. (8)
2. Blue Babbleships Bay – Has a rough, garage-punk vibe to it. Not a terribly long track (1:18), but it does bring some thump. Shades of Circus Devils here. Seeing as it is engineering by Todd Tobias, it makes perfect sense. (6)
3. Forever Until It Breaks – Tobin’s first contribution is long by his standards (3:16). Song is buoyed by a continuous guitar loop and the lush strings are a nice touch. I said it in the last LP write-up, but it really is nice to see the leap his songwriting has taken in this second go-round with GBV. (7)
4. Class Clown Spots a UFO - The title track was the lead single for the record. Has a bit of a “Penny Lane” feel to it. I dig the horns and the hand claps. We get some acapella Bob in the middle of it all. It’s another infectious Pollard ear worm that is hard to resist. This is a reworked version of “Crocker’s Favorite Song” off the outtakes album King Shit and the Golden Boys. Also, the demo of this one appears on Suitcase 3. The album notes for the LP describe the song as “a ridiculously catchy, melodically complex, shot-through-with-melancholia song that serves as a sadder and wiser riposte to XTC’s “Making Plans for Nigel” as performed by The Hollies.” “But where can you go and what can be done for you? I'll tell you now, what can you say when nothing's laid out for you?” (9)
5. Chain to the Moon – Things shift gears abruptly with a one-minute acoustic track. Despite the limited length, this track makes an impact. Wish it were more fleshed out. (6)
6. Hang Up and Try Again - Mines similar garage-punk territory as the second track with its guttural guitar riff. Starts to rise from the ashes, but never reaches the soaring heights of those classic GBV tracks. Get some Precious Pupp-sounding laughs in the outro. (5)
7. Keep It in Motion – Cheap-sounding drum machine, acoustic guitar and strings come together for the first Pollard/Sprout duet since Propeller’s “14 Cheerleader Coldfront”. Love the call-and-response vocals between the two here. Another effortless, airy slice of pleasant Pollard pop. Not a complex song lyrically, but touches upon a similar philosophy Neil Young did with his “rust never sleeps” mantra. (8.5)
8. Tyson’s High School – A wicked guitar riff that abruptly interrupts the previous track. Pollard contorts his voice to sound both drunk and wicked on this song that functions as a sort of tribute to the infamous Iron Mike. "Tyson’s high school, better than my school - it’s alright. Tyson’s high school, kick it to my school in a fight.” (6)
9. They and Them – Sprout is viewed by some as the George Harrison to Pollard’s Lennon/McCartney. George had his pronoun song “I Me Mine” and now Tobin has his. This one is more in line with the late 60s/early 70s psych-tinged, pop snippets Sprout is known for. Another strings-soaked track. (6.5)
10. Fighter Pilot – Abrupt shift for Sprout from the previous track. Much more of a ramshackle, experimental sound on this one. Can’t really make out the lyrics other than some references to the great “Spiderfighter” song off Let’s Go Eat the Factory. (3)
11. Roll the Dice – We get a studio-quality snippet of a song that resembles the shorter tracks the band did on Alien Lanes. (6)
12. Billy Wire – Here we go! I wonder if the song title is a nod to the band Wire. That arty, post-punk influence certainly permeates this track. Some great hooks and those guitars churn hard and heavy. “It wants to live but it can't go on. It needs to die, but it’s never been born. Yeah, but it all boils down to yourself.” (10)
13. Worm w/ 7 Broken Heats – We’ll overlook the fact that worms have only five hearts, but we get the sentiment. Another left-of-center, sub-minute snippet serving as a bridge between two of the better tracks on the LP. (3)
14. Starfire – Sprout’s best songs just radiate sunshine and happiness. This is no exception. He has really embraced those lush string arrangements and they work very well here again. Love the double-tracked vocals, too. “Worlds are falling down like raindrops.” (9)
15. Jon the Croc – Another single off the record. Slower tempo on this one, but still a heavy track. Some stop-and-start dynamics for dramatic effect. The heavy riffs give way to some soaring choruses as it builds. You wouldn’t be faulted if you were moved to pump your fist. (9)
16. Fly Baby – I get an Elliot Smith vibe from this track. I love how Bob won’t do a straightforward, glossed up acoustic ballad. Perhaps he is gun-shy after "Hold on Hope"? He has to “fuck it up” and give it some distortion, echo and creakiness. Despite the covering of dust he puts over it, this remains a pretty song. (7.5)
17. All of This Will Go – Sprout with another classic-sounding Sprout song. Some tremendous jangle to this track. Tobin’s vocals turned up high in the mix, giving it a sort of distorted sound. I dig this track and its “tap-tap-tap-tap-tap-tap-tap-tap-tap” choruses. (9)
18. The Opposite Continues – Another shorter, harsh, discordant mixture of sounds. Band gets whipped into a bit of a frenzy before the feedback comes in and it all fades out. (4)
19. Be Impeccable – This song has a way of nestling its way into your head with repeated listens. Sounds a bit like a demo, as it’s just Pollard and an electric guitar. The manner his vocals are captured here is cool – has a subtle echo to it. Sounds like it was recorded at 3:00am after a long, draining day in the studio. “Be what you are, the impeccable, the untrackable star. I'll shine my flashlight to where you are.” (7.5)
20. Lost in Spaces – The sunshine isn’t here this time, but this is a great evocative piano ballad from Tobin that utilizes the double-tracked (but out of synch) vocals again. A lost Abbey Road snippet from an alternative universe. I just wish it was a bit longer. (7)
21. No Transmission – Another anthemic, fist-pumping epic to close this one out. This builds very well toward its explosion, before fading to black. Lots of pyrotechnics on this track. “No transmission in your heart. No transmission and now you’ve run me down again.” (10)



to be continued…
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Re: Guided by Voices/Robert Pollard

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Official video for "Keep It in Motion"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made video for "Class Clown Spots a UFO"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made video for "No Transmission"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made video for "All of This Will Go". (Gotta show Tobin some love, too.)
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made video for "Billy Wire"
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Re: Guided by Voices/Robert Pollard

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The Bears For Lunch (2012)

The third reunion album of 2012 hit the shelves in November. Oh yeah, in addition to the three GBV LPs, Pollard also released two solo records – Mouseman Cloud and Jack Sells the Cow. With five full-length records being released in the same calendar year, one would think the ones released on the back end would be populated with bottom-of-the-barrel material. That couldn’t be further from the case on The Bears For Lunch. Not only is it the strongest of the reunion LPs, it ranks as one of Pollard’s finest albums, period. Most of the album was cut in the studio, save for the few lo-fi snippets that Pollard seems to insist on incorporating to keep things real. Tobin Sprout once again contributes some excellent nuggets to compliment Pollard’s fist-pumping, uncompromising, power pop anthems. It truly is incredible when you stop and think about it. Guided By Voices breaks up in 2004. Seven years later, the lineup that disassembled in 1996, comes together to play a Matador anniversary show. Things go so well that the band embarks on a reunion tour. Tour is such a success that the band decides to record an album of new, original material. Months later another album, slightly better than the first, is released. Then, a few months after that, a third, superior record drops. I mean, these things just don’t really happen. However, the master of wizards, elves and hardcore UFOs somehow pulled it off. The Bears For Lunch is an excellent record that can be enjoyed by anyone – hardcore fans, casual fans and newcomers. It’s one of those unlikely, back-nine albums that checks off so many boxes. Some Pollard fatigue contributed to it not receiving the props it deserves when it was released, but now’s your chance to discover a great record that somewhat flew under the radar when it came out. It’s also one of my favorite Pollard album covers.

1. King Arthur the Red – Barnburner of a track that comes thundering out of the blocks. Guitars and drums turned way up in the mix. Some serious shredding by Mitch Mitchell. Has a similar feel to some of the kick-ass rockers the band churned out during the Cobra Verde era. “Cells are crazy in the head, needles buried in the red.” (9)
2. The Corners are Glowing – After turning the knobs to 11, things quiet down on this breezy, 60s psych-pop Sprout song. Drums still up in the mix, but far more subdued than the previous track. This is the type of sweet spot Sprout delivers big time on. Love the lazy, hazy vibe. Guitars sound almost like a sitar on this track. “Cold out… Morning… We'll bring the sunny inside. Through the window, beams bring in yellow warm shine.” (8)
3. Have a Jug – Back to Bee Thousand/Alien Lanes territory on this lo-fi snippet. Some great acoustic riffage with Bob sounding like he’s singing in a big empty room. (5)
4. Hangover Child – One of the album’s three singles and a live staple. The drums are fantastic on this one. In fact, Pollard proclaimed that this is "the best thing Kevin's ever played." Love how this one builds and grows into another first-rate GBV song of defiance. Pollard’s double-tracked vocals later in the track are sublime. “Save your breath in the way that you stare, into the face of despair, if you dare.” (10)
5. Dome Rust – A jaunty lo-fi track that sounds like something you’d hear in an alternative Go-Go Club in 1965. (4)
6. Finger Gang – Sort of a primitive, meathead of a song. Lyrics are a bit silly and the band ramps up the cock rock after forty seconds of a simple guitar line played on loop. “They put the finger on you-you-you-yooooou.” (4)
7. The Challenge is Much More – Move back into the mid-fi territory here. Guitars crunch and roar in a manner they did right around the explosion of material in the Under the Bushes Under the Stars era. This is a nice way of getting the album back on track. (7)
8. Waving at Airplanes – Opening riff always reminds me of Bad Company’s “Feel Like Making Love”. However, that’s where this song’s similarities with the arena rock behemoth begin and end. This is one of Sprout’s finest songs, right up there with the incredible “To Remake the Young Flyer” from 1996’s UtBUtS. This song drips with such bittersweet melancholic nostalgia. Really, a terrific song from Bob’s primary musical foil. Love the fuzzy outro. Also dig how Sprout pronounces it as “aeroplanes”. (10)
9. The Military School Dance Dismissal – A sparse, blurry, lo-fi piano ballad. This has such a unique sound to it. Pollard goes all singer-songwriter on us and wraps it in a cocoon of murk and distortion. The somber vibe here is definitively Bob. (7)
10. White Flag – One of those songs that justs gets better and better with repeated listens. Unfortunately the Fading Captain works his fading magic a bit too early for my liking here. I want this to go on and on. Hits that mid-tempo melancholic sweet spot that all those Bee Thousand, Alien Lanes, UtBUtS records did. Chainsaw guitars buzzing with a pinch of jangle tossed in. Hints of post-punk in that springy bass line. Was one of the three singles from the LP. “What's the agenda? What were you thinking? A white flag in my pocket, I think you know this time it's real.” (10)
11. Skin to Skin Combat – Fuzzy distortion and a drum machine propel this great Sprout offering. Again, I love the use of double-tracked vocals. It’s a nice addition to his arsenal. Tobin continues to bring top-shelf material to the table. “Secrets and sins they are calling me in.” (8)
12. She Lives in an Airport – Mines similar territory musically as earlier tracks “King Arthur the Red” and “Hangover Child”. Fennell’s drumming is excellent again. Love those buzz-saw guitars. “She lives in an airport. She sends little bottles to me.” (8.5)
13. Tree Fly Jet – Sounds like more of a throwaway track from one of Pollard’s more avant-garde side projects like Acid Ranch. Surprisingly, it goes a whopping 2:46. Some decent guitar meandering, but not much of an actual song. (3)
14. Waking Up the Stars – Tobin goes full-on Beatles here. Such a lush track with gorgeous double-track harmonizing. In a just world, this is an essential lullaby that parents all across the country sing to their little ones at night. Hints of the sweet, sentimental side of Big Star in there, too. (9)
15. Up Instead of Running – Possesses those chugging guitars the classic lineup executes so well. Bob sprinkles in some “sha-la-la, and sha-la-lee” into the lyrics. It’s a nice song, but falls a bit shy of the bar set by the stronger material on the album. (6)
16. Smoggy Bob – Booming thirty-five second bridge to the final three tracks of the record. (5)
17. Amorphous Surprise – Punk Pollard returns with splashes of psych thrown in for good measure. Has a Circus Devils vibe with its menacing sound. I’m lukewarm on this track. (4)
18. You Can Fly Anything Right – The opening music leads you to believe we have our fifth Tobin Sprout song. However, once the lyrics kick in, you are a bit surprised to hear Bob’s voice. This is an excellent change-of-pace Pollard track with that prototypical lo-fi film placed over a really pleasant acoustic ballad. (8)
19. Everywhere is Miles from Everywhere – Things conclude with this dynamic, R.E.M.-tinged crackerjack. This is one of my all-time favorite GBV tracks. So many great moments – the alternating, call-and-response of the cymbals and those guitar riffs, the guitar tone in general, Bob’s vocal performance. It all comes together perfectly here. This is not a fist-pumper, but more a defiant, uppercut-fist-raised type of song. When those riffs pulsate, it’s very difficult to resist your hips’ urge to gyrate. “In the liquid fire escape, you sweat. Every dog comes closer, even yet. I will bring you a rabbit, you can bet.” (11)



to be continued...
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Re: Guided by Voices/Robert Pollard

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English Little League (2013)

After the outpouring of albums in 2012, GBV reigned things in a bit in 2013. English Little League is the lone LP the band released, preceded by the Down by the Racetrack EP. Of course, Pollard was still churning out material with his various side projects – two solo LPs (Honey Locust Honky Tonk and Blazing Gentlemen), two Circus Devils albums (When Machines Attack and My Mind Has Seen the White Trick), a Teenage Guitar debut record (Force Fields at Home), an EP from another new project The Sunflower Logic (Clouds on the Polar Landscape). The classic lineup was still in place, but there were signs that a shake-up was on the horizon. In a 2013 interview with Magnet which took place a few months after ELL’s release, Pollard stated, “Honey Locust Honky Tonk (one of his 2013 solo LPs) is basically the songs I wrote for the next Guided By Voices album, but I’m not sure there’s going to be a next Guided By Voices album. I’m not going to say for sure, but it’s already got a bit stagnant. To me it’s kind of run its course.” The liner notes for English Little League also convey a chippy tone:
The Guided By Voices project, as any fan knows, both requires and rewards effortful listening, and lazybones who dismiss the volume of Pollard's output as (basically) impossible misunderstand the care with which he assembles his dreamscapes. Whiny types will thus be dismayed to learn that Pollard has recently installed a studio in his house (first fruits can be found on "A Burning Glass," among others here), the better to transform his oneiric musings to immediate art, but converts to the clubhouse will be overcome—some will in fact faint—at the news. The plan at present is to release three Guided By Voices albums per year until the end of time, but in the world according to Robert Pollard, "plans" does not mean what it means to you and me. "Plans" to him are moving ideas caught momentarily in stasis, and subject as often to revision as to fruition. Which is to say only that you never know what the future will bring, only what the past has brought, and the past has now brought you the fourth Guided By Voices album in little more than a year. You should probably buy someone a drink to celebrate. You should definitely celebrate.

Life is short. Guided By Voices is long.
The majority of the album was recorded in a professional studio, save for three tracks that were recorded in Pollard’s new home studio, The Public Hi-Fi Balloon. Those three tracks are some of the lowest fidelity to appear on a GBV record. While the previous two reunion albums were strong and cohesive, this one is a bit of an uneven affair. It has a handful of strong tracks, but the album has a disjointed feel and contains what feels like a bit of filler. This is surprising in that this is the first GBV reunion void of song fragments or snippets. Some of the frustration and stagnation detailed above appears to have bled into the creation of English Little League, with the reunion hitting its first significant speed bump.

1. Xeno Pariah – Starts with some beautiful, melancholic guitars and what sounds like the calling of the sirens off in the distance. The sirens stay throughout the song, but the music shifts into a heavier, mid-tempo arrangement. It’s a solid opener, but lacks the hooks and the killer Pollard melodies many of these similarly-styled songs have featured in the past. (7)
2. Know Me as Heavy – The sirens bleed into the second track. We have Toby hamming up the British accent on this duet with Bob. The guitars really roar on this one, with a menacing bite. My initial opinion of this song was lukewarm, but this is a strong GBV rocker. (8)
3. Islands (She Talks in Rainbows) – Tobin’s best song on English Little League appears early in the record. The opening part reminds me a bit of “Unbaited Vicar of Scorched Earth” from the 1996 special release, Tonics and Twisted Chasers. He delivers another lush, psych-pop gem that sounds like a lost 60s classic. (9)
4. Trash Can Full of Nails – Puzzlingly, this was one of the five single released in advance of the album. Bob strips any sense of melody as he delivers the lyrics in a very monotone fashion. The music isn’t very interesting of exciting, either. Third longest track on the record, clocking in at 3:31. (3)
5. Send to Celeste (And the Cosmic Athletes) – Cool organ to start this track. Has a dreary vibe, but like all classic GBV songs, maintains its defiant dignity. This is one of the band’s slowest tempo rockers. It’s a nice change of pace, with some interesting guitar tones. “Throwing breakfast in the sink, it doesn’t matter what you think. The execution went nicely.” (7)
6. Quiet Game – Sprout’s version of a scorching barnburner. I like the scuzzy guitar riff that repeats throughout the song. Some serious vocal distortion going on here. Can’t understand pretty much anything that is sung here. It’s a very different type of song than what Sprout typically delivers. I like the decision to mix it up, but it doesn’t stand up to some of the others he’s contributed. (5)
7. Noble Insect – “Jah-Pan… Jah-Pan… Jah-Pan… Friction in Jah-Pan.” Another dirgey, somber track that was also one of the five singles. Solid music (organ returns!), but the lyrics miss the mark for me. (4)
8. Sir Garlic Breath – Dip in fidelity here. Sounds like a Suitcase track. First song on the record that was recorded in Pollard’s new home studio. (3)
9. Crybaby 4-Star Hotel – Guitars turned way up in the mix. Fantastic tempo swings. Pollard incorporating several ‘Ps’ into this song – punk, psych and prog. Love the up-tempo gallop the band kicks up. Clocking in at just under two minutes, this is a song that only Robert Pollard and GBV could pull off. More of this please. (9)
10. Biographer Seahorse – Another one that sneaks up on you. Another slow and low offering that conjures a dreary, late-night vibe. Pollard eschews melody and just rawly belts out the lyrics. The reduction in fidelity works well on this track. (7)
11. Flunky Minnows – This song lurches out of the speakers. Quintessential Guided By Voices pop song, stuffed with hooks and Pollard recapturing that elite sense of melody. Impossible not to bob your head to this track. Manages to evoke the memories of mid-90s GBV while sounding completely fresh and new. The lead single and the best track on the LP. (10)
12. Birds – Has a bit of a prog feel to it a la Universal Truths and Cycles/Earthquake Glue-era GBV. Of course, other than Pollard, none of those people are in this version of the band. This isn’t a bad song, it’s just not very memorable. (5)
13. The Sudden Death of Epstein’s Ways – Sprout retreats back to his psych-Beatles wheelhouse with a pleasant piano ballad about the tragic life of former Beatles manager, Brian Epstein. Considering recent events with Jeffrey Epstein, the title can take on some new, interesting meanings. “From kingpin to butterfly, he says he’s dancing with Jesus.” (7)
14. Reflections in a Metal Whistle – Bob heads back to the home studio for the album’s shortest track (1:47). Makes reference to Japan again. I dig the outro with all the instruments kicking in, but this is another track that is better suited for the Suitcase. (3)
15. Taciturn Caves – GBV dips its toe into the Sabbath well with this plodding, heavy track. Mitch doing his best Tony Iommi impression. Several different tempo and chord transitions give it a sort of Quadrophenia-esque, mini rock opera vibe. Overall, this song doesn’t really achieve the lofty heights it appears to aspire for. (5)
16. A Burning Glass – The final Pollard home studio recording is my least favorite. Better suited for the new Teenage Guitar project. (1)
17. With Glass in Foot – The record concludes with another mid-tempo rocker that doesn’t measure up to the closers on the other reunion albums. (5)



to be continued…
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made video for "Flunky Minnows" featuring several of Pollard's collages.
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Re: Guided by Voices/Robert Pollard

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I too have been following and loving these write-ups, Cortez. I haven’t paid much attention to the post-reunion stuff because there’s been so much of it and most of what I have heard hasn’t grabbed me much. Plus Half Smiles felt like such a perfect swan song to me that it seems a shame to pile on so many releases after it. But I checked out The Bears for Lunch today and it really is great. Strong UTBUTS vibes. So looking forward to the forthcoming reviews to see what else I may have overlooked among the recent releases...

...though I’m still a little pissed that Picture Me Big Time only got a 7. Come the fuck on! That’s a motherfucking 10 if I ever heard one.

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Re: Guided by Voices/Robert Pollard

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Jack Flash wrote:I too have been following and loving these write-ups, Cortez. I haven’t paid much attention to the post-reunion stuff because there’s been so much of it and most of what I have heard hasn’t grabbed me much. Plus Half Smiles felt like such a perfect swan song to me that it seems a shame to pile on so many releases after it. But I checked out The Bears for Lunch today and it really is great. Strong UTBUTS vibes. So looking forward to the forthcoming reviews to see what else I may have overlooked among the recent releases...

...though I’m still a little pissed that Picture Me Big Time only got a 7. Come the fuck on! That’s a motherfucking 10 if I ever heard one.
Thanks, Jack! Appreciate the feedback.

There's a light at the end of the tunnel as we're near the end of the classic lineup reunion albums.

I like "Picture Me Big Time", but don't hold it in the same esteem as you. Lots of gloss on that one. It throws several hooks at you and has a soaring chorus. I can't put my finger on it (maybe the production), but something holds it back from being a GBV classic for me. I listened a couple more times and I do like the outro a lot. Might have to bump it up to an 8. ;)
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Re: Guided by Voices/Robert Pollard

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Motivational Jumpsuit (2014)

Mostly recorded at Cyberteknics in Dayton, OH, Motivational Jumpsuit is the most critically-acclaimed of the reunion albums. It is also the last record to feature the complete classic lineup. In the time between the completion and release of the LP, drummer Kevin Fennell was fired (or resigned) in an ugly, public fashion over the sale of his drum kit. Internal band drama aside, the album packs a brisk wallop (twenty songs occupying thirty-seven minutes of space), with the tracks bleeding into each other in manner not dissimilar to the band’s past iconic records, Bee Thousand and Alien Lanes. While the previous LP English Little League is a bit of a haphazard, stylistic hodgepodge, Motivational Jumpsuit is tightly-packed with several up-tempo, garage power pop songs that bring to mind the Alien Lanes aesthetic. I don’t mean to suggest that this record is the equal of that masterpiece. That’s an entirely unfair barometer. However, the feel and style of Motivational Jumpsuit leads me to believe that the band had AL in mind when it hit the studio to cut the fifth reunion LP. Of course, nobody but Pollard and the members of GBV know the true inspiration for the album. I simply believe it was a wise decision to get back to what the band does best coming off the mixed bag that is English Little League. They’re not all “hits”, but the record does contain a few classic and near-classic GBV fist-pumpers. Also, I like the album cover with the teenage boy staring off into the distance in a room with empty boxes and the 1995 Tigerbomb EP poster on the wall. It provides another clue to the band’s mindset I allude to above.

1. The Littlest League Possible – Pollard was a star pitcher at Northridge High School and went on to pitch at Wright State University where he threw a no-hitter. He invokes his love of baseball as an analogy for his band. He once chased a bigger audience and a major record label until he realized what that world consisted of. Instead, he balked and returned to his cozy little corner in the lo-fi indie world. I love how he starts out sounding completely bored and engages more as the song progresses. Some great up-tempo, turned-up-in-the-mix guitars. “To be the biggest fish, in the smallest pond, on the littlest island, where I shall reside.” (8)
2. Until Next Time – Takes a bit for this one to start, but we are treated to an acoustic ballad with some indistinguishable noises in the background. Sounds like a half-baked, skeleton of a song. “I’m off to work again. There goes Mario Andretti.” (5)
3. Writer’s Bloc (Psycho All the Time) – Tongue-in-cheek song about the inability to write. If there is anyone out there who is immune to such a thing, it’s Robert Pollard. Mitch Mitchell supplying those signature ragged, chugging riffs. “The last recording nearly killed me. Writer's bloc, psycho all the time.” (6)
4. Child Activist – All hail the Malala Yousafzais, Emma Gonzalezes and Greta Thunbergs of the world. This is a neat lower-fi track with a slinky post-punk guitar line that weaves its way throughout. Again, guitars turned way up with Pollard’s screaming buried in the mix. (6)
5. Planet Score – Another short, tight, muscular, distorted GBV power pop anthem for the masses. This is the type of song this version of the band makes a living off of - defiant, melancholy and catchy as hell. Actually spawned a real record store shortly after its release. “You only need it to breed it. So make the best of downtown, surround sound like The Planet Score. Yeah, it’s a record store.” (10)
6. Jupiter Spin – Six tracks in we get our first Tobin Sprout song – a catchy, psych-tinged song which lyrically brings to mind David Bowie’s “John, I’m Only Dancing”. “Freed wings and unbridled long strides. He said he's dancing. He said he's dancing.” (7)
7. Save the Company – A mid-fi, mid-tempo, raise-your-beer anthem that brings to mind that classic Bee Thousand/Alien Lanes sound. “Save the company for one last Sunday. She's nearly dead and buried, but let's dig her up tonight.” (8)
8. Go Without Packing – An acoustic fuck-you, get-lost song. Directed at Kevin Fennell? “Go without packing. Not welcome here. The hopeless language. The quicksand fear.” (4)
9. Record Level Love – Light and breezy jangle pop from Sprout. Bit of a Byrds vibe going on with those guitars. One of the shortest songs on the LP (1:16), but it feels like a complete song. (7)
10. I am Columbus – Pollard indulges his proggy side on this longer track (2:55). He throws some “nicotine animals” into the lyrics. This song has potential, but never really comes together in the form it takes on the record. (4)
11. Difficult Outburst and Breakthrough – Another power popper to spruce things up. This is a nice little song that isn’t as majestic as some of their previous efforts in this style. (6)
12. Calling Up Washington – Another jangly Sprout track that shares a similar vibe as “Record Level Love”. This one doesn’t register as strongly, but it’s a pleasant-sounding song. (5)
13. Zero Elasticity – Sloppy, roaring cock rock. Band harmonizing reminds me of some of those off-keys backing vocals Crazy Horse provides Neil Young with. This is a fun song that would be perfect to hear live in a tiny, sweaty dive bar. (7)
14. Bird with No Name – Title seems like a play on America’s “Horse with No Name”. A folksy, acoustic track that conjures up the feeling of the American Southwest. Pollard “fucks it up” with some distorted guitar and other studio noises as it nears its conclusion. One of the more unique-sounding songs in the band’s catalog. (6)
15. Shine (Tomahawk Breath) – The album’s longest track (3:03) is Tobin’s best contribution to the project. Major Big Star #1 Record influence on this song. We also get a rare, stretched-out guitar solo which lasts for the last minute of the track. (8)
16. Vote for Me Dummy – Too perfect for the current political times we live in. This is an insanely-catchy, propulsive mid-fi track. Some machine-gun drumming from Fennell. The guitars achieve a nice chiming effect before morphing into those chainsaw guitars that bring to mind the Alien Lanes classic “Motor Away”. Pollard’s delivery of the chorus is pitch perfect. “And vote for dummy, I'll tell you the truth then I'll tell you a joke. The ultimate good move, life will be a piece of cake. Please find me an island.” (10)
17. Some Things Are Big (And Some Things Are Small) – Tobin retreats back to his familiar 60s psych-pop safe space. Lyrically, this is a bit overly sentimental, but the music is nice. Some of these Sprout tracks start to blend together after a while. (6)
18. Bulletin Borders – Another short blast of garage rock to cleanse the palette. This is straightforward, intentionally rough and in your face. No hooks, no frills, very little sense of melody. All about those chainsaw guitar riffs. (6)
19. Evangeline Dandelion – Psych-tinged 60s-styled acoustic song that brings to mind some Brian Jones-era Stones. It might be the Dandelion in the title that brings me there, with the obvious connection being The Stones “Dandelion”. It’s a nice little snippet that serves as the bridge to the more up-tempo closing track. Has some manufactured audience applause at the end which brings to mind a similar tactic employed on Propeller’s “Over the Neptune/Mesh Gear Fox” (6)
20. Alex and the Omegas – The applause bleeds into the beginning of the closing track. This chugs along pretty hard, with plenty of stop-and-start theatrics worked in. Another dynamic, fist-pumping, arena-worthy anthem that abruptly ends after 2:16 minutes of sweaty fun. “Get out alright. Nothing's on. Everything's over. It's the living end.” (9)



to be continued…
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Re: Guided by Voices/Robert Pollard

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Official music video for "Planet Score"
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Vote for Me Dummy"


Rogue Wave cover (and music video)
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Re: Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Littlest League Possible"
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Re: Guided by Voices/Robert Pollard

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Re: Guided by Voices/Robert Pollard

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Cool Planet (2014)

And, just like that, it was over - six albums in three years for the Guided By Voices classic lineup reunion. As the record’s liner notes state:
Look what Guided By Voices have done for the world since reforming in 2010. Six high-quality full-length albums in less than four years. And that’s not counting EPs, singles, tours, or solo records. If the sorry state of the present day indie-, alt- or just plain rock landscape is the disease, Guided By Voices is the cure! Do not take in moderation.
The final one was recorded at Cyberteknics in Dayton, Ohio during the 2013-14 polar vortex that gripped Ohio. With Kevin Fennell out of the band, Pollard turned to Kevin March who was behind the kit on the previous lineup's final two albums, Earthquake Glue and Half Smiles of the Decomposed. With the addition of March’s powerful drumming abilities, they are turned up more in the mix on Cool Planet. This is a wise decision as he brings the kind of propulsive energy to the songs that Keith Moon once provided for Pollard’s rock heroes, The Who. The remainder of the band was what remained of the classic lineup. With the exception of Tobin Sprout’s songs, which he recorded in his home studio like he did with all the reunion albums, this was the first of the reunion LPs to be recorded in just one studio location. Bob had the songs already written and ready to go. The band did a few rehearsals and then banged out Cool Planet in two days. While the previous record was primarily an upbeat, party-like power pop affair, this one shows greater sonic diversity, with a more melancholic vibe than its predecessor. Upon its release, Cool Planet received mixed reviews. Personally, I think it is a very strong final statement from the classic lineup. There is little to no fat on the record and it delivers some all-time classic GBV anthems. I feel like this one failed to register with most casual Pollard/GBV fans (the fanatics eat up anything Bob releases), but it is another strong second-half entry into the band’s ever-growing catalog.

1. Authoritarian Zoo – Kevin March announces his presence right out of the gate on this thunderous rocker. Mitch Mitchell doing what he does best churning out those pulsating power chords. This one builds very nicely and really comes together with its big, triumphant choruses. “Time out for screaming, they're not willing to never mind. Leave a bad number and go running 'cus they're gunning for you.” (9)
2. Fast Crawl – Brooding and ominous track that starts out like molasses before it builds nicely into a song featuring big drums alongside loud, fuzzy guitars with splashes of prog. “Hey, Mr. subway breath, please empty your pockets. I've got a tight schedule in the fast crawl, in the quick pace, in the photographed finish of the last race.” (6)
3. Psychotic Crush – A blast of glammy psych-rock from Tobin. Has a strong Ziggy-era Bowie vibe to it. I dig. (7)
4. Costume Makes the Man – Just Bob and an acoustic guitar. His voice sounds great, which is pretty impressive when you think of his age and all the hard livin’. While you don’t typically associate him with these kinds of songs, he really does excel at somber acoustic ballads. Neat electric guitar line that slinks its way into the outro. (7)
5. Hat of Flames – Back to that mid-tempo sweet spot. Those definitive GBV guitars are accentuated by the thump emanating from March’s drum kit. “Putting it all in place, coming from service town, wearing a hat of flames.” (7)
6. These Dooms – The title sets the stage for the musical arrangement - very plodding, ominous and proggy. Another builder that goes from smoldering to boiling over before it fades into the darkness. (6)
7. Table at Fool’s Tooth – Another shorty, punchy song square in this lineup’s wheelhouse. I keep saying it, but March’s drumming really elevates these songs and significantly enhances the impact of their thump. (8)
8. All American Boy – When I first heard this album, I didn’t think too much of this song. Boy, was I wrong. This is an incredible track. One of Sprout’s finest hours with the band. Love all the high-pitched, off-key yelping and singing on this one. Has that classic McCartney piano sound. Shades of The Beatles and Queen ripple throughout. Tobin expresses his love for The Stones in the lyrics. But, if we are really getting down to the brass tax, this song brings to mind the Bowie-penned classic “All the Young Dudes” by Mott the Hoople. Massive, sprawling epic of a tune from Mr. Sprout. “I poured a shot into a paper cup and washed down the tears as the Stones played a special tune that filled the room of this hollow soul searching for a spark to find my way.” (10)
9. You Get Every Game – Starts out as another sparse, solemn acoustic song before Sprout comes in with piano and additional lyrics. It’s literally Pollard and Sprout snippets stitched together that works as a complete song. (6)
10. Pan Swimmer – Has to be one of the greatest, most effective one minute songs of all-time. Irresistibly catchy mini anthem. “Ink runner, I'm on this page. Think summer in the milky ways, like ice cream cherries, the new Virgin Marys, on northern sky mountain, are looking at you!” (9)
11. The Bone Church – Sprout embraces his inner Sabbath on this hazy, doomy, mid-fi rocker. Needless to say, this is a complete 180 degree turn from the type of stuff he typically pens, but Mitch Mitchell and Kevin March really bring this track to life. “Water yourself in dam… Water yourself in dam… Water yourself in dam… Water yourself in dam…” (6.5)
12. Bad Love Is Easy to Do – What do we have here? A rare Pollard/Spout duet, with no distortion added to Tobin’s voice. This is a pretty silly/cheesy song, but, man, is it catchy. March killing it again on the skins. The Mike Postalakis-produced music video for the song is very good. (7)
13. The No Doubters – A sluggish, plodding song that after getting a shot of prog and almost threatens to lift off. (5)
14. Narrated by Paul – Sprout settles back into familiar territory with this tender, piano ballad. Ends before you know it (1:06), but manages to convey a strong pensive, melancholic mood. (7)
15. Cream of Lung – Oddball of a title and song. Better suited for a Circus Devils record that this LP. Feels like more of an idea for a song than an actual song. (3)
16. Males of Wormwood Mars – Who else but Robert Pollard would bury the best song at the sixteenth slot of an eighteen-track LP? March brings some powerful thump to the beefy, muscular guitar riff Mitch lays down. There’s a hint of jangle and a really strong melody that helps this track soar. Fantastic song title, too! One of my favorite reunion tracks. “We shall strive skinned alive...” (10)
17. Ticket to Hide – This play on The Beatles’ “Ticket to Ride” is another strong contribution from Sprout. Far less upbeat than that early Beatles classic, this one is shrouded in sorrow. Love the eerie sounds that pick up during the outro as Tobin repeatedly sings “It might get louder…” (8)
18. Cool Planet – A rare title track that is tacked onto the end of the record. Opens with a hypnotic guitar line and Bob's deadpan vocals before March comes in and unleashes hell. It moves back to some a cappella Bob before the band, once again, kicks into high gear. This song smokes and is an apt song to conclude both the album and the second run of the classic lineup. “Heroes do matter, insects do scatter...” (10)



to be continued...
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Re: Guided by Voices/Robert Pollard

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Official music video for "Bad Love Is Easy to Do"
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