Guided by Voices/Robert Pollard

[tinnitus photography]

Unofficial, fan-made video for "Diver Dan"

one of my faves from this or any era. incredible he can continue to produce gems like this.

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I'm in awe and envious. Do you play it anymore, or did you buy a spinning copy when the reissue came out a few years back?

i have GBV box on vinyl so i have another version on vinyl, but i do play this one occasionally. the only early GBV i don't have is Same Place (i've got the german reissue of Devil Between My Toes). I got the Propeller via Forced Exposure mail order but i think i got sandbox, self inflicted and maybe forever since breakfast via Scat distribution.

it was fun to have Bob sign it. i brought it to the 2018 show at the Sinclair and was waiting near the backstage to see if i saw Doug Gillard who get me back stage. i didn't see him but Kevin March was on his way in and i asked him if Bob could sign it. he said, I'll see and then took it from me, leaving me outside. sad trombone.

but a couple minutes later he popped back and said bob wanted to see me. he remembered that copy as one of his and it was cool to talk about it for a little bit.

Great story. Although, I'm not sure if I would've had the same level of trust as you to hand over a rare artifact like that to a total stranger (even though said stranger is in the band) hoping he'll return with it properly John Hancock'd.

it happened so fast... i didn't expect him to grab it from my hands as i figured he'd lead my back to the dressing room.

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Space Gun (2018)

From the Space Gun liner notes:

THE ONLY GUIDED BY VOICES STUDIO ALBUM OF 2018. IT'S TRUE!

In 2018, Guided By Voices will release precisely one new album, Space Gun. Once you hear it, you will know why.

Pollard made the decision to release only one Guided By Voices LP in 2018. If we are to judge that decision on the merits on the release, it was a brilliant one. After dropping two strong records with a new lineup in 2017, Pollard and his new bandmates knock it out of the park on Space Gun. Initial reports were that GBV was releasing another double album. However, when the record arrived in March, it was a tight, fifteen-song powerhouse of an LP. Travis Harrison returned again to engineer the project. The recording process was similar to what was done for How Do You Spell Heaven. Bob wrote and recorded demos onto a boom box, which he burned to CD and mailed to Harrison. Harrison had the band members come into his Brooklyn studio to lay down their parts. Once the instrumental parts were finished, Harrison grabbed his laptop with Pro Tools and headed to a Dayton bed & breakfast, The Stillwater River Lodge, where Bob stopped by to put the vocals on top of the instrumental recordings. The album contains no snippets, is of the highest fidelity and features a number of single-worthy GBV anthems. Most reviews praised the record, with several noting it was GBV’s finest hour since 2001’s Isolation Drills, which is the album it most resembles in style and form. Two decades removed from what was considered the peak era of his band, a sixty-one year old Robert Pollard was not only still cranking out records, but he was doing so at an incredibly high level. Space Gun is an outstanding album that holds up against any album he has released with any version of the band.

1. Space Gun – In a rare Pollard move, we get the title track in the leadoff spot. A number of past title tracks have been curious choices, but it is most definitely not the case here. From the opening “field recording” of an automatic paper towel machine which brings to mind the 2001 Pollard song “I Drove a Tank”, this song latches onto you and never lets up. Easily the best track on the album and one of my all-time favorite GBV songs. “Baddest guy on circus sign, you are the space gun. Doesn’t matter what you do, you know what you’ve done.” (11)
2. Colonel Paper – “Who is this Colonel Paper of whom you speak?” Why, it’s Colonel Sanders and his famous KFC. Allegedly based on a drunken experience of former GBV bassist Greg Demos drunkenly ordering a bucket of KFC chicken, eating two pieces and passing out. The bucket was subsequently tossed into the trash. When he arose from his drunken slumber hungry, Demos apparently fished through the trash to recover what was left of his KFC bucket. A plodding rhythm section and some top-notch Gillard leads add serious punch to the humorous lyrics. “Cigarette eater, eat a cigarette, man! Colonel Paper unfolds from a metal ashcan and calls you up.” (9)
3. King Flute – A lighter and more proggier track than the previous two. March showing off his excellent drumming skills, tastefully filling the empty spaces. It’s the shortest track on the record (1:22), but you come away feeling like you listened to a fully fleshed out song. (8)
4. Ark Technician – The breezy vibe, minus the prog, carries over to this melancholic anthem. This is a beautiful slice of catchy jangle pop with some excellent splashes of synth giving the song a fuller sound. This band can dial it up and then take the foot of the gas with equal proficiency. That bouncing guitar line is hypnotic. “And I with my flagship salute, parading with all who would work for their meals. But Best Bought is offering no deals.” (10)
5. See My Field – The second single off the LP is a classic GBV fist-pumping mid-tempo anthem. Whereas the anthems of the past were lo-fi or mid-fi, this is a very professionally produced and executed arena rock song, busting with hooks and that legendary Pollardian melody. “See my field, its foundation is lain. It’s ingrained and it may not be pretty.” (8.5)
6. Liar’s Box – Opening carries a gloomy, Wire-esque post-punk vibe with Bob operating somewhere between yelling and singing as if he is making an announcement. Starts out a bit slow and then builds perfectly. Gillard just hammering you with power chord after power chord. Pollard builds things to an epic, soaring chorus. Defiant fist pumping everywhere. “Summons of a glass to a sad, sad heaven.” (10)
7. Blink Blank – Song opens with Mark Shue dealing out a spindly, bouncing bass line that would make Cure bassist Simon Gallup proud. More synth splashes to fill out the track. Pollard tossing in some “Bum-bum-bum-bum-bum-bum Bum’s”. Not an epic anthem, but a nice layered track that incorporates the punk (post-punk) from the ‘4 Ps’ equation. “Lighthouse black, coffee can blue, I lost an umbrella searching for you in a shit storm.” (8)
8. Daily Get Ups – Sped-up, high-energy blast of power pop that clocks in at 1:35. We even get some hand claps worked into the mix. “Here we are in our daily get-ups. I’m having four on the floor and you’re making punch bowls of bourbon fruit.” (7)
9. Hudson Rake – Opening sounds like a breaking news alert from decades ago. Baleful vibe in the music and lyrics. March putting on another drumming clinic. “There was a terrible accident last night.” (7)
10. Sport Component National – Alternates between hyper-charged, and molasses-slow arrangements. Somehow, someway the tempo shifts work incredibly well. Pollard has taken several different song snippets/sketches and made an epic song collage stuffed with hooks and another soaring, raise-your-beer chorus. Nobody else but GBV can create a song like this. “Sport Component National, he’s oh so ripped you’ll recognize the scars.” (10)
11. I Love Kangaroos – This sounds like a song written for a Sesame Street segment about kangaroos. More “field recordings” worked into the beginning, with what I imagine is the noise a kangaroo makes. Pollard dials up the sentimental side of the pop part of the ‘4 Ps’ while remarkably never crossing over into sappy territory. “A travelogue song, I’m happy to compose and so exactly where I’m going with this, nobody cares, nobody knows.” (8)
12. Grey Spat Matters – Another original song written during the time of the current lineup that sounds like a prototypical classic lineup GBV track. This garage-pop nugget chugs along until it abruptly ends at just under a minute and a half. A GBV wheelhouse production. “Sleepy heavy eyelids, you hollow your sockets. Take them out slowly and just let them dry.” (9)
13. That’s Good – This is the only recycled track on the album, as it was originally released in demo form on Suitcase 3: Up We Go Now. A string-accented ballad that would serve as an excellent soundtrack for an elementary school or family photo slideshow. One of the longer tracks on the record, this is given all the appropriate space to grow and breathe. (7)
14. Flight Advantage – The music arrangement is relatively straightforward, with some stop-and-start dynamics worked in. Pollards vocal inflections are certainly unique and detract a bit for me. The vocal alterations incorporated on the earlier track, “Sports Component National”, work far better than they do here. “Birds will fly and spiders will dance.” (5)
15. Evolution Circus – More circus references. Bob also worked one into the lyrics of the title track. The second longest song on the album is a proggy builder. Most of the material on Space Gun latches onto you immediately. This one takes a few listens to properly soak in. Some great historical, cryptic lyrics on this track. The fidelity cranks down a notch which serves it well. A strong, slow-burner to conclude a tremendous record. “Get on, get on, get up!” (8)



to be continued…

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Official music video for "Space Gun"

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Official music video for "See My Field"

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Throw the Copies Away
1. You Satisfy Me
2. Two Girl Area
3. Go For The Exit
4. Canned Food Demons
5. Dorothy's A Planet
6. Tattoo Mission
7. Big O Gets An Earful
8. Catherine From Mid October
9. How Wrong You Are
10. Radical Amazement
11. Question Girl All Right
12. Let It Rest for a Little While
13. Go Inside
14. The Way Out
15. Track Star
16. John the Dwarf Wants to Become an Angel
17. Come On Baby Grace
18. In the Bathroom (Up 1/2 the Night)
19. Blind 20-20
20. Tourist U.F.O.
21. Minefield Searcher
22. Make A Record For Lo-life
23. Chevy Marigold
24. Tabby And Lucy
25. Christmas Girl

Chronological sampler of Pollard's excellent side project, Boston Spaceships (2008-11)

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Official music video for Boston Spaceships "Freedom Rings"

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Unoffcial, fan-made music video for Boston Spaceships "You Satisfy Me"

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Official music video for Boston Spaceships "Tabby and Lucy"

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Official music video for Boston Spaceships "Let It Rest for a Little While"

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Official, contest-winning music video for Boston Spaceships "Christmas Girl"

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Official, contest-winning music video for Boston Spaceships "Winston's Atomic Bird"

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Trailer for final Boston Spaceships album, Let It Beard

[Flea]

Thanks for tackling this, it's really helpful.

[cortez the killer]

Thanks for tackling this, it's really helpful.

My pleasure. It's been fun connecting with and dissecting his massive catalog. Robert Pollard is a difficult artist to penetrate, particularly this late in the game with such a massive, sprawling catalog. My initial exposure to him was in the wake of his excellent solo double album, From a Compound Eye. It was around 2005 or 2006 and I was just starting to really get back into music again. I was playing catch up through a combination of iTunes and eMusic and that album was getting a good amount of critical praise. I was completely unfamiliar with Robert Pollard. I might have heard of Guided By Voices, but I didn't consciously know any of their songs. I used some of my monthly downloads on eMusic and picked through FaCE liking a handful of the more straightforward, poppier tracks. Really dug the British Invasion/power pop aspect of his music. I joined the Nine Bullets message board in 2006 and there were a number of Pollard/GBV enthusiasts on there, most notably Mr. Boh. He sent me burned CD copies of Bee Thousand, Alien Lanes and Crickets: Best of the Fading Captain Series 1999–2007, a 2-CD compilation. At the time, I wasn't ready for B1000 or AL. It seemed too lo-fi and out there and I just couldn't connect with it. However, I did like much of the Crickets compilation, especially the poppy stuff like "Pop Zeus", "Tight Globes" and "Death of the Party". I made my own Pollard 80 minute CD that stayed in my car for a good amount of time. Because of that initial experience, I made the assumption that the GBV was too lo-fi and experimental for me and that I was better off mining the solo stuff and his various side projects. Fast forward to 2015 and I was in the midst of some big life changes. At the time, I was listening to a lot of Kinks, The Clash and 80s music. Somehow, Pollard popped back on my radar and I jumped in headfirst. I started hammering the solo stuff and side projects. Boston Spaceships, his 2008-2011 group with Chris Slusarenko (who filled in occasionally as a bassist in GBV) and John Moen of The Decemberists, really registered with me. I became obsessed with their stuff and, from there, finally made the Guided By Voices plunge. I was ready this time. Alien Lanes and Bee Thousand blew my mind. After digesting those two classics, hearing some of the later, more polished stuff like Isolation Drills sealed the deal for me. And because he is still an active artist, releasing new material and touring, I can follow him in real time. I've been fortunate enough to see him three times and had the fourth experience pulled due to COVID-19 and the ensuing quarantine. Hopefully, this thread can provide some clarity and understanding of the many different styles and phases of Pollard, Guided By Voices and the various other aliases he uses. There are many parts of his catalog that I'd be hard-pressed to recommend. However, the upper-tiers of his discography are incredible and contain many nuggets for music enthusiasts to mine.

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Zeppelin Over China (2019)

It took the uber-prolific Guided By Voices thirty years to released their first double album, August By Cake. A mere two years later, the band to dropped their second double-bagger, Zeppelin Over China. The title of album comes from a song written by Pollard in the late 70's titled "Zeppelin over China (And Everybody Thinks It's a Raincloud)". Pollard originally offered the song to a local new wave/punk/garage band called Dash Rip Rock and the Hairspray Boys, but would go on to record the song, later titled "Theolonius Has Eaten All the Paper" with his other band, Circus Devils. While some of the tracks on ZOC are leftover from the Space Gun sessions, the majority of the thirty-two tracks here consists of new, original material. And whereas ABC featured multiple tracks by all four band members, ZOC is strictly a Pollard affair in terms of songwriting. The lineup here remains the same, with the only change being Travis Harrison gets his first producer credit on a GBV record. He was credited as the engineer on the previous three albums but is now listed as the first producer on a GBV LP since Rob Schnapf was on 2001’s Isolation Drills. Guitarist Doug Gillard’s influence on this lineup continues to expand, as he contributes both string and horn arrangements for several of the tracks here. In addition to being the longest GBV record (seventy-five minutes), it also is the darkest and heaviest one in their immense catalog. The critical reception to ZOC is mixed. Some reviewers hailed it as a masterpiece and further evidence that the current lineup was the best Pollard had ever assembled. Others, critiqued the album for its sheer size and the fact that it was a dense record that lacked the warmth and melody many of the previous GBV LPs feature. I’m a bit hot and cold with this one. It is incredibly dense and difficult to absorb initially. The sequencing, typically a Pollard strength, has a tendency to make the flow of the record a bit disruptive. And while this album features some incredible tracks, by my measure it also contains more filler than this lineup has previously featured. In fairness, I like it much more today than I did when it first came out last year, but it is the album from the current lineup I reach for with the least amount of frequency.

1. Good Morning Sir – Shorty, punchy song serves as a good opener. It feels like it has all the ingredients of a GBV mini epic. However, it just doesn’t grab me like those classic masterpieces do. “And even on auto-suggestion his status remains in question.” (7)
2. Step of the Wave – Bit of that post-punk gloom enveloping this one. Rhythm section featured prominently throughout. Bob adds some arena rock-worthy choruses. Cool proggy Gillard guitar solo during the outro. (7)
3. Carapace – Song about turtle shells and sarcophaguses and the things that hide inside those hard safe spaces. Power pop with a dose of cock rock, this song is a tad monotonous at times. “And you hide a lot. Out of sight, you hide all night. Turtle shell, hide inside, carapace.” (6)
4. Send in the Suicide Squad – Pollard really hits those higher notes on this melancholic, mid-tempo jangly track and produces another two-minute classic for the GBV songbook. “Send in the Suicide Squad - their uniforms are blue down on Tranquilizer Avenue.” (9)
5. Blurring the Contracts – Things get bogged down a bit on this ominous dirge that gets spruced up a bit with splashes of prog. The production is top-notch, but this song never really goes anywhere for me. (5)
6. Your Lights Are Out – Icy post-punk guitar intro gives way to a great rhythmic blast. Some great fast-slow, loud-quiet effects really help this one soar. Another excellent Pollard vocal performance. Three of the four Ps play into this one – pop, punk and prog. Hooks and fist-pumping everywhere. Another uniquely Bob song. “I happen to lose you. My map cannot find you. I try to remember. I want to remember. I try to believe you. I'd like to believe you. I'm just gonna leave you. I just have to leave you...” (10)
7. Windshield Wiper Rex – Bob’s gloomy vocal delivery sets the tone for the type of weather Rex is called for. Is it about rain? Does Rex work at an adult video arcade? “Thunderstorm Norman, from the hall of familiar, he digs the wet sex. Transform Norman to Windshield Wiper Rex.” The lyrics certainly peak my curiosity, while musically, this is fine, but not spectacular. (5)
8. Holy Rhythm – Thunderous rhythm section assault courtesy of drummer Kevin March and bassist Mark Shue. Another creepy, moody song that might have been better served as an instrumental, functioning as March’s “Moby Dick”. (5.5)
9. Jack Tell – Starts out as a soft rock song with Pollard and a simply strum guitar and a steady bass. Just over a minute into the song it morphs into an atmospheric acoustic prog tune for about thirty seconds before the full band kicks in again delivering it to conclusion. Neat Gillard guitar line on the back end. (6.5)
10. Bellicose Starling – Begins as a ballad with just Pollard and an acoustic guitar. A Gillard-produced string section comes in to fill out the track. It’s a pretty piece of music, it just doesn’t register strongly with me. (4)
11. Wrong Turn On – Pollard pick up the tempo on this breezy, Who-inspired song. It’s eerie how much Gillard’s powerfully strummed guitar sounds like Pete Townsend and March turns in a Keith Moon-worthy performance behind the kit. Can’t help but think of “I Can See For Miles” when this one comes on, particularly on the cacophonous conclusion. (7.5)
12. Charmless Peters – Another track that starts out moody and ominous before creeping towards arena rock territory. Rhythm section showing restrained power and Gillard, once again, adding some great color with those sinewy guitar parts that weave in and out of the song. “Smoke them if you have them...” (7)
13. The Rally Boys – Much of the record is heavy and moody, but not “The Rally Boys” which bursts in to pull the album out of Molasses Lake. No repeated listenings required. Clocking in a 1:44, this super-catchy song springs out of the speakers and commands your attention immediately. Impossible not to get you moving, pump your fist or hit repeat. The crown jewel of the record and one of the best songs you’ve never heard. “Good fortune and luck, you won't catch the rally boys. The cyclone alley boys. The Rand McNally boys.” (10)
14. Think. Be a Man – Back to more minor chord meandering. The placement after the previous track really adds to the drag aspect of this song. (4)
15. Jam Warsong – Rhythm section establishes a strong swinging groove, but, aside from that, this song does not really go anywhere. Another molasses-covered track that plods along monotonously until Gillard lays down some wild guitar during the outro. (5)
16. You Own the Night – First single released for the album finds the band in a more familiar form. The song builds into a propulsive frenzy and then comes crashing to halt with a slow-picked acoustic guitar, lush strings and Pollard in “Circle Saw Boys Club” lyrical mode. Band once again whips it up and delivers a soaring conclusion. “What's it like being all that? Acrobat with wings down, upside down, as if you own the night.” (8)
17. Everything’s Filling – Neat little guitar line and Pollard belting out lyrics. No chorus and no other instruments ever make an appearance. Sounds like the kind of song Neil Young did on his Daniel Lanois collaboration, Le Noise, minus the atmospherics and studio gimmickry. (5)
18. Nice About You – Another super-slow dirge song. Some chugging guitars that bring to mind that classic era trademark. Late in the track, seemingly out of the blue, Pollard tries to lift the song with a soaring vocal part. This song just never seems to take off. (4)
19. Einstein’s Angel – Song manages to shake off the thick gloop and get us back to that melancholic, mid-tempo sweet spot the band excels at. Steady hand of Gillard and Pollard’s sense of melody lift this one up. Love the double-tracked, call-and-response closing chorus that receives the Fading Captain treatment. Would’ve fit well on 2003’s Earthquake Glue. “Red and gold; red is dark; dark is old...” (8)
20. The Hearing Department – Back to the cold, dark space we go. However, on this one, the band is fully incorporated and the vibe is somber, but not too heavy. Underneath, Gillard’s string arrangement adds a hint of warmth. Bob’s vocals carry a serious weight without sounding too over-the-top, creeping into horror music/Circus Devils territory. “In the hearing department, no communication. Total lack of communication. Total children, no one hears them.” (7)
21. Questions of the Test – Starts out as an overly-simple poppy song before being swallowed up by a psych assault. Gillard lays down a dirty solo over some ferocious March drumming. I am not a fan of how this one starts out, or the lyrics, but there is no denying that the outro of the song SMOKES. (7)
22. No Point – No there isn’t. Comes off as filler. (2)
23. Lurk of the Worm – Pollard really lets his prog flag fly here. Some really interesting instrumental parts on this song – splashes of spacey synth, Gillard’s laser-like guitar parts, March’s powerful drums, and the abrasive assault that is unleashed as the song concludes. The more I listen, the more I dig. (7)
24. Zeppelin Over China – The title track is an acoustic bridge track/snippet with some chatter and laughing in the background. Most definitely better suited for a Suitcase. (3)
25. Where Have You Been All My Life – Music is upbeat and hard-charging. However, Pollard’s vocals seem tired and detached. It lacks any feeling or melody. It’s as if he set out to do a classic GBV sub-two minute garage pop song, but wanted to prove a point about how important his vocal delivery is and purposely sang in a monotone fashion, forgoing a key element that make his songs special. (4)
26. Cold Cold Hands – Bands delivers another mid-tempo, melancholic mini anthem. Bob is a bit restrained with his vocal performance, but the fire still burns. Rhythm section is tight as fuck. Gillard almost veers into Gilmour territory with those soaring guitar parts. Hard to believe so much is conveyed in under two minutes. “You're gonna throw it back and the light its gonna leave your eyes. It's gonna miss your cold, cold hands.” (9)
27. Transpiring Anathema – Punk Pollard track which brings to mind the vibe of the second Circus Devils record, The Harold Pig Memorial. Adds another ‘P’ to the mix with the proggy outro. “I've got news for you, punk! Let me see peace, humble blood.” (6)
28. We Can Make Music – Bob takes another crack at a sentimental song. This one hits the intended target. Gillard’s string arrangement work really well here. The weathered, worn quality of Bob’s voice sound great here, too. Finds a way to pack a bunch of hooks into a 1:43 song like only he can. “Our private islands sink like public dominoes. We can make music…” (8)
29. Cobbler Ditches – Stop-and-start dynamics, chugging guitars and a lyrical reference to the Alien Lanes staple, “Motor Away”. Other than that classic Pollardian melody, this has many of the trademarks of a classic GBV song. I like it, but don’t love it. I guess I crave that Pollard melody. “In casual terms, eating the paper candy bar Mars, playing Motor Away.” (6)
30. Enough Is Never at the End – Short, bridge track that dials up the dramatic sentimentality. Another strong Gillard string arrangement to buoy Pollard on the piano. With a bit of downgrade in fidelity, I can picture this on Bee Thousand or Alien Lanes, giving it that authentic, unforced GBV feel. (6)
31. My Future in Barcelona – While never officially released as a single, this track was available digitally before the album was released. Rare, in that it almost reaches the four-minute mark. No hints of the weighty darkness that cloaks much of the material on the record. This is a solid, well-executed mid-tempo song that bounces along, showcasing the many strengths of this lineup. Also dig the “bull-in-the-ring” football reference. “It's time tested and a successful proven hiatus. They always beat us.” (8)
32. Vertiginous Raft – I haven’t really touched upon this throughout these write-ups, but is there anyone who comes up with song titles as clever as Pollard? It’s only appropriate that the album comes to a conclusion with another plodding, sludgy track. Gillard gives it another lush string arrangement so it doesn’t completely sink in the swamp. I dig the “A Day in the Life”-inspired sustained, ringing piano chord that brings it all to a close. Not the epic conclusion that many of GBV’s albums feature, but this does seem to fit this record well. (6)



to be continued...

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Turn It Off, Avalanche Man
1. Lexo and the Leapers - Time Machines
2. Lexo and the Leapers - Alone, Stinking, and Unafraid
3. Airport 5 - Total Exposure
4. Airport 5 - Stifled Man Casino
5. Airport 5 - Feathering Clueless (The Exotic Freebird)
6. Go Back Snowball - Never Forget Where You Get Them
7. Go Back Snowball - It Is Divine
8. Lifeguards - First of Any Early Go-Getter
9. Lifeguards - No Chain Breaking
10. Lifeguards - Red Whips & Miracles
11. The Moping Swans - Beaten By the Target
12. The Takeovers - Fairly Blacking Out
13. The Takeovers - Be It Not for the Serpentine Rain Dodger
14. Psycho and the Birds - Late Night Scamerica
15. Keene Brothers - Death of the Party
16. Cosmos - Westward Ho
17. Lifeguards - Paradise Is Not So Bad
18. Mars Classroom - New Theory
19. Mars Classroom - Wish You Were Young
20. Ricked Wicky - Mobility
21. Ricked Wicky - Piss Face
22. Ricked Wicky - Jargon of Clones
23. Ricked Wicky - Poor Substitute
24. ESP Ohio - Royal Cyclopean
25. ESP Ohio - Grand Beach Finale

A chronological sampling of Pollard's various side projects.

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Unofficial, fan-made music video for Airport 5 "Stifled Man Casino"

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Unofficial, fan-made music video for The Takeovers "Fairly Blacking Out"

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Unofficial, fan-made music video for Mars Classroom "New Theory"

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Warp and Woof (2019)

While fans were still in the process of digesting the 32-track, seventy-five minute Zeppelin Over China, GBV dropped their second LP of 2019 less than ninety days later. Warp and Woof is very different than its predecessor, with its twenty-four tracks whizzing by in thirty-seven minutes. Only two songs on the record eclipse the two-minute mark, one of those being an instrumental. The genesis of the project occurred one day when, over a thirty minute period, Pollard pumped out six songs. The LP also reconnects with the band’s lo-fi history. Instead of Travis Harrison’s Brooklyn studio or Pollard’s new favorite Dayton recording spot, Cyberteknics, the majority of Warp and Woof was recorded in club soundchecks, hotel rooms and even in the tour van. According to the album’s liner notes:

With a band so formidable they've been dubbed the New Golden Age of GBV, they quickly completed much of the recording on the road. The 2018 Space Gun Tour provided impromptu recording venues. Pollard recorded vocals in hotel rooms and small studios. Doug Gillard cut guitar tracks for “End It With Light" through his Mesa Boogie rig at soundcheck at the Ottobar in Baltimore. Bobby Bare Jr. recorded his spacey main rhythm guitars for album closer, “Time Remains in Central Position” at the same show, but in the backstage green room. Kevin March added drum tracks in a studio in his hometown Montclair, New Jersey. Gillard played guitar on “Bury the Mouse” in a van hurtling at 60-plus m.p.h., and Mark Shue laid bass on “Angelic Weirdness” as he balanced on the speeding van's bench seat…

Another aspect that makes W&W unique is that all the tracks were initially released on four separate, vinyl-only EPs – Winecork Stonehenge (2018), 100 Dougs (2018), Umlaut Over The Özone (2019) and Acid Rock (2019). The tracks from those EPs are resequenced with new, original artwork resulting in the new lineup’s fifth album in three years. The ragged nature of the recordings, combined with how short the songs are, give it a mid-90s GBV feel, hearkening back to those classic lo-fi gems Bee Thousand, Alien Lanes and Under the Bushes Under the Stars. This new lineup had successfully churned out a handful of tight, professionally-made records and was now tackling the style of album their bandleader built a career on decades before.

1. Bury the Mouse – Pollard’s distorted vocals and Gillard’s wicked riffs punctuate this quick blast of GBV punk rock meets Shout at the Devil Mötley Crüe. Lyrical reference to the band’s 1990 album, Same Place the Fly Got Smashed. “Bubbles will bump him around in the same place the fly got smashed.” (8.5)
2. Angelic Weirdness – Pollard sings in a fashion that falls somewhere between falsetto and inebriated. It sounds strange, but it works. Starts out as a warbled acoustic song and picks up some stream. Has a hint of proggy gloom hanging over it. (7)
3. Foreign Deputies – Shortest song on the record (1:00) feels like a continuation of the previous track and serves as a great bridge for the next one. Pollard sings in a haunted manner over some ominous guitar. Get some interested spoken word spliced in. Short but sweet snippet. (6)
4. Dead Liquor Store – Breakneck tempo on this one featuring Gillard and Bare weaving in and out of each other, March’s machine-gun drumming and Shue’s springy bass. Song suddenly grinds to an almost complete halt about a minute in, only to resurge with some electric guitar and a drunken-sounding Pollard before it completely falls apart. (7.5)
5. Mumbling Amens – Tempo and mood dialed way back from the previous song. Despite the gloomy picture painted here, Pollard provides glimpses of sunshine with some late hooks and soaring vocals. “My childhood is through and they’re rolling along. High hills…” (7)
6. Cohesive Scoops – Things pick up again on this somewhat-restrained, breezy song that will work its way into your ear canal. Starts out with some arcade-style guitars before March drops the hammer and the songs takes off. Classic power pop that brings to mind Cheap Trick. Would’ve fit nicely on 1999’s Do the Collapse. “It takes the sunrise, it takes a lot of cohesive scoops to make it alright. I know the world is the love you do.” (10)
7. Photo Range Within – Sounds like Pollard is singing far away from the microphone on this breezy, tweeish track with Shue’s bassline serving as the song’s spine. Just as it gets going it comes to an abrupt stop. (6)
8. My Dog Surprise – More prog influence spilling into the proceedings. Some cool stabs from Gillard’s guitar. Pollard’s vocal performance here is certainly out there. Sounds as if he is saying “I’ll give you my dark surprise” rather than the actual title. (5)
9. Tiny Apes – Barely crosses the one-minute mark. Lots of start-and-stop dynamics over the top of Bare Jr.’s soundcheck guitar wankery. Bob sounds like he’s coming at you through a transistor radio. Another neat snippet of a song. (6)
10. Blue Jay House – Trademark distorted GBV guitar line to kick this one off. Pollard’s vocals come in and then the rest of the band comes in. I keep waiting for this one to take off, but that moment never arrives. It provides some bounce, but never soars like it leads you to believe. (5.5)
11. Down the Island – Stormy weather in the intro sets the scene. A very atmospheric track with what sounds like some harpsichord as an accent. Obvious influence is obvious – Face to Face-era Kinks. “It’s a slow ride, it’s a strobe light when you come down the island.” (7)
12. Thimble Society – Pollard leans back into the punk meets prog aspect of the ‘4 Ps’ with a nice little post-punkish guitar riff that turns into a chugging GBV mid-tempo track with blasts of synth. (7)
13. My Angel – Great driving beat on this mid-tempo garage rocker. More distorted Pollard vocals. This is the type of mini anthem the bands feasts on. (8)
14. More Reduction Linda – Stop-and-start, laser beam guitars blare away over the top fake crowd noise that brings to mind the old trick employed on Propeller’s “Over the Neptune/Mear Gear Fox”. (6.5)
15. Cool Jewels and Aprons – For whatever reason, Pollard announces the song title to start the track. Band finds its groove right out of the gate with the song sounding a bit like the tremendous “James Riot” off the first Suitcase. Bob’s vocal performance here is strong. Song has a classic era GBV sound, but retains its freshness. (9)
16. Even Next – Things slow down again with another Pollard ballad. Another strong string arrangement from Gillard. Love the atmospheric touches added to Bob’s vocals. And just to “keep it real”, the band rocks out for the last 10 seconds of the track. (7)
17. It Will Never Be Simple – The longest track on Warp and Woof is a Gillard-penned instrumental that clocks in at 2:31. Has a closing-credits feel to it. If I ever own a bar, this is the song I will blare on loop when the lights come on and it’s time for the place to clear out. (7)
18. The Stars Behind Us – Fuzzy, distorted song with Pollard’s vocals significantly altered to match. Guitars start to squeak, squeal and feedback during the outro. Certainly a unique song in the GBV catalog. (6)
19. Skull Arrow – Had to have been one of the six songs Bob wrote in a thirty minute spurt. Barely registers over a minute. Frenetic and chaotic acoustic guitar as the anchor with splashes of synth strings support Bob belting out absurdist lyrics. “One hundred monkeys can’t be wrong.” (3)
20. Out of the Blue Race – Another quickie. I’m also guessing this is one of the half dozen that came from the half hour song explosion. Some of the vocal stylings Pollard employed on ZOC’s “Carapace” make a return. March hammers the skins, but this song is somewhat dead on arrival. (2)
21. Coming Back from Now On – Once again, Bob announces the song title. This time it’s to the imaginary audience that previously appeared on “More Reduction Linda”. The band dials up the numbskull, cock rock factor. Not one of Pollard’s most inspired vocal performances. (5)
22. The Pipers, The Vipers, The Snakes! – Back to that mid-tempo, driving beat that the band specializes in. Some strong stop-and-start guitar lines from Gillard and Bare Jr. Bob is a bit on autopilot here in terms of the vocals. (7)
23. Time Remains in a Central Position – Steady, driving beat gets a shot of proggy synth. This song has a strong Mag Earwhig! feel to it. Chugs along nicely till it sounds like it literally hits a snag and completely falls apart. "And when your tambourine, it spins on hyperdrive. The mind creates this nervous condition which binds you into total submission." (7)
24. End It with Light – When inspired, nobody closes an album like Bob. A high-energy, fist-pumping track that hammers you for 1:11 and leaves you wanting more. Gillard continues to deliver like a ninja and Pollard provides his most engaged, melodic vocal performance on the album. (9)



to be continued…

[cortez the killer]

Guided By Voices - live at Best Kept Secret 2019
Setlist:
0:00 Cut-Out Witch
3:01 Wrong Turn On
4:52 I Am A Scientist
7:45 Rally Boys
9:33 Game of Pricks

BKS19: Gouden ster voor Guided By Voices
De Nederlandse terugkeer van bloedfanatieke cultband GBV

[cortez the killer]

Sweating the Plague (2019)

Well, just as was the case in 2012 with the reunited classic lineup, Guided By Voices releases its third LP in a calendar year. In a letter to the fans posted to the GBV official website in the summer of 2018, Pollard mentioned, among other things, that demos for an upcoming early 2020 release titled, Street Party, were completed and ready to record. Early 2020 switched to October 2019 and the record titled was changed to Sweating the Plague. Unlike the on-the-road recording techniques utilized on the previous album, this one was once again done at producer Travis Harrison’s Brooklyn studio, Serious Business Music. Featuring twelve tracks, it is the shortest LP the band had recorded since 1987’s Sandbox, which also contained a dozen songs. Although it featured half the number of songs as Warp and Woof, it clocked in at fourteen seconds longer. An advance copy was sent to English comedian (and GBV fan), Stewart Lee, whose thoughts on the album were posted to the band’s website. Here’s a snippet of Lee’s assessment:

Being a fan of Guided By Voices can feel like standing in a ticker-tape parade and reaching out to grab at stray releases as the endless flurry of output from the Needmore Songs publishing house billows around-but here's twelve compatible nuggets of Pollard content in one handy package, all boxed up and ready to go.

Pollard has previously expressed a desire to release a tight, twelve-song album on his 2002 return to Matador Records, Universal Truths & Cycles. At the last minute, Pollard decided to add seven newly-recorded lo-fi songs to that project. He resisted any urge to do so here and made a lean, hard rock album with elements of prog rock liberally incorporated throughout. If you drop the tacked-on songs from UT&C, the best way to describe that album would be “a lean hard rock album with elements of prog rock liberally incorporated throughout.” Seventeen years later, with Gillard once again at his side, Pollard made the record he originally envisioned on his return to Matador. The heavy prog influence here also brings to mind Pollard’s excellent 2005 double record, From a Compound Eye, and his former side project with Gillard, Lifeguards, which yielded two excellent LPs – Mist King Urth (2003) & Waving at the Astronauts (2011). Sweating the Plague is another late-career masterpiece, which is even more astonishing when you consider the band had already released a 32-track double record and another 24-track LP just months earlier.

1. Downer – Great ringing acoustic guitar to open. Quickly gives way to a very proggy synth before the song really takes off. Elements of post-punk, krautrock and prog-rock define this opening track. Tempo shifts all over the place. Some very good fills by Kevin March. Bringing that Universal Truths & Cycles energy to the party. “Oh, I don’t like to hear you cry. It’s such a downer.” (9)
2. Street Party – Was originally slated to be the title track until Bob went with Sweating the Plague. Hints of prog are in there, but this is a much more straightforward GBV rocker. More stop-and-start guitar effects from Gillard and Bare Jr. “How can we help you settle them down? It’s a street party. And the heat is insane.” (8)
3. Mother’s Milk Elementary – A pair of excellent a cappella Bob verses to open this track. Band then waltzes in, in a very measured, deliberate fashion. At about a minute and a half into the proceedings, we get a proggy synth bridge. Nothing else in the band’s massive catalog sounds even remotely close to this. Very cool, haunting song. “Face it. Embrace it. You’ve learned where to trace it. Shortened it to a straight line.” (8)
4. Heavy Like the World – First single off the album. It’s a reworking of the song, “I’d Choose You”, off Suitcase 2. Ominous guitar riff and March’s powerful work get this one going right out of the gate. Layers added throughout, making it that quintessential GBV builder. Bob is really on point vocally. He even harmonizes with himself thanks to Travis Harrison’s deft touches. Great melodic, soaring chorus and hooks abound. Another late-career, triumphant, melancholic masterpiece. “Heavy like the words on your tattoos. Put some danger in your life and more ink in your tattoos.” (10)
5. Ego Central High – This crunchy track comes at you hard and fast. Muscular arena rocker that gets spruced up with a prog/punk bridge featuring an insane tempo charge that propels it back to the heavy groove originally established in the refrain. (7)
6. The Very Second – Starts out with a sparse, rickety acoustic guitar that sounds like it’s lost. From there, it morphs into a massive, sprawling, prog-slathered epic. Rhythms section supplies some strong low-end while Gillard and Bare lay down some of the best guitar parts in the GBV discography. It’s really cool to see the band stretch out a song to 4:43. The back-and-forth electric to acoustic back to electric guitar in the outro is one of my favorite moments on the album. This song is a BEAST! “Are you living it up? Or are you drinking it down?” (10)
7. Tiger on Top – Starts off as a schmaltzy lo-fi song before it blows up into a throat-seizing, hard rock assault. From there it undergoes a number of tempo and stylistic shifts. The more I listen, the more I discover on this one. Oh yeah, and it all takes place just a tick above three minutes. Menacing guitar on the outro that resembles a savage tiger. Cue the Joe Exotic jokes/comments. (7)
8. Unfun Glitz – A relentless, pounding hard rock song. Heavy riff after heavy riff landing like body blows. Complexity of the arrangement, in comparison to much of the material here, is dumbed down to emphasize the powerful crunch this song delivers. Made to get fists pumping and to melt faces in arenas across America. “When the truth must come, it’s an unfun glitz. This just can’t go on.” (8.5)
9. Your Cricket Is Rather Unique – Song was originally recorded by Bob’s side project, ESP Ohio, as a B-side for one of the singles off Starting Point of the Royal Cyclopean (2016). The drums from the original version, played by producer Harrison, are preserved, with the band recording their individual instrumental parts over it. Because March had nothing to do, it was suggested that he sing the song. And he kills it. The first few times I heard the song I assumed it was Bob singing with his voice slightly altered like it’s been on a handful of recent tracks. Gillard lightens this up a bit with some excellent 12-string, jangly guitar. Also, Mark Shue doesn’t get enough credit for what he brings to the band as a bassist. (9)
10. Immortals - Another hard-charging, crunchy hard rock track. More fist-pumping and defiantly-delivered vocals from Pollard. “When she crashes the party, that will be a pity. When everyone is gone, you and I will still be here.” (7.5)
11. My Wrestling Days Are Over – Lo-fi/studio hybrid track with Bob’s vocals and acoustic guitar lifted directly from the demo. Gillard puts some string arrangements on top. About a minute and a half into the track, things get wild and the band starts frantically howling and laying down some menacing noise. “Still standing in the spotlight as the broken monitor prevails.” (7)
12. Sons of the Beard – Pollard goes all-in with prog rock on this epic closer. The acoustic opening is similar to that on the fantastic closer off his solo double album From a Compound Eye, “Recovering”. This is a dynamic prog epic with multiple parts, including some outstanding synth and string additions from Gillard. Song concludes with the same exact chords that the opening track began with, giving the album a neat circular feel, especially if you are listening to the digital version on loop. (10)



to be continued...

[cortez the killer]

Surrender Your Poppy Field (2020)

Guided By Voices releases an LP in its fifth decade. Let that sink in. Less than two months after the band’s epic, 100-song New Year’s Eve show in Los Angeles, GBV dropped its twenty-ninth full length album. Its title is inspired by the classic 1939 film, The Wizard of Oz, taking from the “Surrender Dorothy” aerial message from the Wicked Witch of the West and combining it with the poppy field scene. Surrender Your Poppy Field is unlike any of the previous six albums the current lineup recorded. The fidelity is mixed including studio recordings, lo-fi four-track tape recordings and primitive basement recordings. The 4 Ps are once again well represented, with a strong serving of prog in the intricate and abrupt shifts in tempo and style that punctuate the album. This results in a less approachable album when compared to this lineup’s previous output. However, those fans that favor the more abstruse side of GBV will find a lot to love about Surrender Your Poppy Field. An ambitious tour to support the record was planned, but is now on hold due to the current COVID-19 pandemic.

1. Year of the Hard Hitter – Begins with a weather announcement before transitioning to a lo-fi, mid-90s GBV-sounding guitar riff. From there, the band takes us on a wild ride of tempo and stylistic shifts. Modern, more polished approach to the type of patchwork track that was done on 1992’s “Back to Saturn X Radio Report”. It’s all in there – pop, punk, psych, prog and anything else you can think of. Great Gillard solo about 2 and ½ minutes in. Commands repeated listenings. “Cry me a river, the year of the hard hitter is here.” (9)
2. Volcano – The album’s lead single is a very 90s-sounding song, and not in a GBV way. Has some early Radiohead, Pixies and Mazzy Star feel to it. Bob’s vocals are deeper in the mix than normal, but the song does build and soar. Shue and March inject a steady galloping rhythm that serves as the song’s backbone. “Blue are the windows I see through. Red are the tail lights in your eyes.” (8.5)
3. Queen Parking Lot – Short, punchy mid-fi song that brings to mind the type on songs that populated the onslaught of EPs the band cranked out in the mid-90s. (6)
4. Arthur Has Business Elsewhere – In 2008, we got Robert Pollard Is Off to Business. Rumor has it he came close to reuniting GBV for that solo project. Now we discover that "Arthur Has Business Elsewhere". I’m not 100% sure what either have to do with each other or why I brought that up, but every time I see hear the song or see the title, I immediately think of that Pollard solo album. This waltzing track would serve as a great soundtrack to a hazy, dream involving an historic carousel. (6)
5. Cul-De-Sac-Kids – Starts out as a sparse acoustic track with Pollard singing about cherubs before the energy gets dialed back up. I read somewhere like this sounded like Bob parodying Craig Finn and The Hold Steady. I have a hard time unhearing that now. From the title, to the lyrics, to the vocal performance and music, it’s an apt observation. “Boy those ‘sac kids throw good parties. I’m not giving them away.” (7)
6. Cat Beats a Drum – In 2007, Bob told us “Cats Love a Parade”. We now also know “Cat Beats a Drum”. Love the hypnotic arrangement the band cooks up here. Some interesting background noises. Sounds like a parade of mice or rats. Must be killing March to stay so restrained throughout this track. Bob adopts a number of singing styles here. “Cold, wet grass between my toes. Walt Whitman blows his nose and then goes back inside.” (6)
7. Windjammer – Bob is back to channeling his inner Who. March goes back to being Keith Moon and Gillard and/or Bare Jr. lay down a very Townshend-esque guitar line. Pollard, once again, adopting multiple singing styles on one track. Really like how the track descends into chaos in the end. “Surrender your poppy field. Dampen your militant flame.” (7)
8. Steely Dodger – Disjointed, haunting track that brings to mind Pollard’s former side project, Circus Devils. Band has a bit of a “Ramble On” from a different universe shuffle going on. Bob spitting out absurdist lyrics. “Sweetened, untampered fresh lotus and moose, chomping on chicken on the back of a caboose.” (4)
9. Stone Cold Moron – Things get even more haunting, in a menacing kind of way. I mentioned Circus Devils about the previous track. I have a very hard believing Bob didn’t reunite that band and slip a track onto a GBV album. Pollard’s vocals are distorted throughout and he becomes a cop yelling for the subject to “get out of the car” from the cruiser’s megaphone as the track concludes. (4)
10. Physician – The album gets back on track with this gem. The band finds themselves back in that familiar mid-tempo, garage-pop territory they excel at. That steady propulsive beat stays strong throughout the 3:37. Gillard lays down another fantastic solo. Pollard opting to go back to using those filtered vocals. My favorite track on the record. “One thing is true – you should stay off that exit.” (10)
11. Man Called Blunder – One of the album’s two singles is this brawny hard rocker. This track doesn’t seek to dazzle you with creative brilliance. It simply wants to get you to pump your fist. I’m guessing this smokes live. “Everywhere that he goes he finds a losers’ game.” (8)
12. Woah Nelly – Originally made an appearance as the B-side to the ESP Ohio 7’’, Lithuanian Bombshells. When did Bob hook up with Jack White and his refurbished 1947 Voice-o-Graph vinyl recording booth at his Third Man Records recording studio in Nashville, Tennessee? I didn’t like it when Neil Young did it on A Letter Home and I’m not fond of it when Bob does it either. (2)
13. Andre the Hawk – Considering Bob’s background as a former college baseball player, I figured this song was about former MLB outfielder, Andre Dawson. However, apparently it is about former Ohio State linebacker, AJ Hawk. This is a dreamy waltz, with some pretty silly, weak lyrics. Can’t say it’s one of my favorites. (3)
14. Always Gone – Another nugget that sounds like an outtake from that incredibly fertile mid-90s era when Bob was just cranking out mini, mid-fi anthems. More of this, please. “From your material world disguise, no one’s following you or the way that you run…” (9)
15. Next Sea Level – Simplistic, bass strumming opens in what sounds like something that would provide the perfect soundtrack to a scene in Twin Peaks’ White Lodge alternative world. After about a minute or so, Pollard comes in singing “Rising!” repeatedly. The band starts to kick in and we are treated to a lovely, shoegaze/dream pop type of soundscape. It’s definitely outside the normal realm of what you typically associate with GBV, but is well within the broad landscape Pollard, as an artist, works. (7)

[cortez the killer]

Scene from the British sitcom The IT Crowd

[Sterling Bigmouth]

Thanks again for this Cortez, planning on doing some deep diving soon.

[cortez the killer]

Act I - In the Beginning
1. Messenger
2. Something for Susan In the Shadows
3. Hank's Little Fingers
4. The Tumblers
5. Captain's Dead
6. Lips Of Steel
7. Trap Soul Door
8. I'm Cold
9. United
10. Lonely Town
11. We've Got Airplanes
12. The Great Blake Street Canoe Race
13. Navigating Flood Regions
14. An Earful O' Wax
15. Liar's Tale
16. Let's Go Vike
17. Taco, Buffalo, Birddog and Jesus
18. Settlement Down
19. Oh, Blinky
20. The Hard Way
21. Drinker's Peace
22. Pendulum
23. Local Mix-Up / Murder Charge
24. Blatant Doom Trip
25. How Loft I Am?

Early GBV sampler (1985-1990)

[cortez the killer]

Act II - So You Want to Be a Rock 'n' Roll Star
1. Over The Neptune/Mesh Gear Fox
2. Weedking
3. Shocker in Gloomtown
4. Gleemer
5. Tractor Rape Chain
6. Smothered In Hugs
7. I am a Scientist
8. A Salty Salute
9. Watch Me Jumpstart
10. Game Of Pricks
11. Motor Away
12. Striped White Jets
13. Pantherz
14. Cut-Out Witch
15. The Official Ironmen Rally Song
16. To Remake The Young Flyer
17. Don’t Stop Now
18. Big Boring Wedding
19. Drag Days
20. Redmen And Their Wives
21. He's The Uncle
22. Finks
23. Bunco Men
24. If We Wait
25. Unbaited Vicar of Scorched Earth

Classic lineup GBV sampler (1991-1996)