Guided by Voices/Robert Pollard

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Unofficial, fan-made music video for "Red Rubber Army"

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Unofficial, fan-made music video for "Tight But Normal Squeeze"

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Unofficial, fan-made music video for "Fighting the Smoke"

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Honey Locust Honky Tonk (2013)

The first of two solo records in 2013 finds Pollard returning to a similar approach utilized on the previous year’s Mouseman Cloud. Like that album, Honey Locust Honky Tonk contains seventeen tracks that incorporate all four components of the 4 Ps – pop, punk, psych and prog. In an interview with Rolling Stone to promote the record, Pollard stated, "Honey Locust Honky Tonk is supposed to be a mock country album even though it's not country, although it is a little more straightforward than albums I typically make. I was going to use a pseudonym – Cash Rivers." That aborted pseudonym showed up a few years later on a country-flavored side project Cash Rivers and The Sinners that has yielded three studio albums – Blue Balls Lincoln (2018), Do Not Try to Adjust Your Set I am the Vertical and The Horizontal (2018) and Loose Shoes (2019). After three GBV reunion albums packed into the previous year, 2013 saw only one GBV record – English Little League. I mention this because Honey Locust Honky Tonk feels and sounds like a GBV album more than most of Pollard’s solo releases do. The same recording process was used again here, with Bob providing demos/roughs with his vocals, guitar and instructions for Todd Tobias to make his additions to at his Waterloo Sound Studio. The only difference this time around was Bob recorded two of the tracks (“Strange and Pretty Day” & “Igloo Hearts”) in his new home studio, The Public Hi Fi Balloon. Maybe it is the quality of the songwriting with fewer GBV projects to commit the stronger material to or perhaps Bob sought more input from Todd this time. Perhaps it can be attributed to the liberal amount of Jack Daniels reportedly consumed during the process. Either way, this feels more like a GBV album than most of the previous Pollard/Tobias solo collaborations. The majority of critics agreed with this assessment, as Honey Locust Honky Tonk was showered with far more positive praise than the previously panned Jack Sells the Cow.

1. He Requested Things – Starts out as an airy, atmospheric song before those crude, GBV-like riffs come buzzing in. A great stylistic hodgepodge of a track to fuck with all the people who assumed Bob was going country based on the album title and cover. Tobias with those well-placed synth accents. This song would’ve fit in perfectly on From a Compound Eye. “A boy arrived in the world today. He requested things.” (9)
2. Circus Green Machine – Another light, poppy earworm that morphs into a more menacing prog rocker before settling back into a pleasant acoustic space. Nobody can paint such a complex picture in 1:24 minutes like Robert Ellsworth Pollard Jr. “Father, I need more money for cotton candy and chameleons.” (8)
3. Strange and Pretty Day – Back to the basement Bob heads on this lo-fi, stabbing-piano ballad. This song really captures the sound that defined the early rise of GBV. Bob has included lo-fi songs on past solo albums, but this one seems less forced than some past efforts and legitimately sounds like it was recorded in 1994 as Bob was crafting his ultimate masterpiece, Bee Thousand. “All eyes are on the dream of being lost and found.” (7)
4. Suit Minus the Middle – Cross-faded in from the ringing chord and tape hiss of the previous track. It really is incredible how much this sounds like a GBV album. Song builds momentum and starts getting going and is gone in under a minute. Bob gives us a great guitar intro, one verse and what appears to be a bridge before pulling the plug. “And I’m moving along, moving along…” (7)
5. Drawing a Picture – Sounds like a 60s British Invasion mashup of Something Else Kinks and Sgt. Pepper’s, yet comes off as completely original. If The Kinks were dropping acid at the time, this is what “Picture Book” would’ve sounded like. Second half of the song has Bob singing the chorus over and over. “Drawing a picture, I wanna go…” (7.5)
6. Who Buries the Undertaker? – Another throwback song that would have fit well on Earthquake Glue or Half Smiles of the Decomposed. Classic GBV-like, propulsive riffs power this one along. “And who buries the dead canaries? The coal miners in case you will not know.” (9)
7. She Hides in Black – The Who is the band most often cited for being the primary influence on Pollard’s music. And while that is true, The Beatles cast a tall shadow on Bob’s work as well. You can definitely hear that Fab Four spirit on this snappy pop song that is guaranteed to get heads bobbing and asses shaking. (8)
8. Her Eyes Play Tricks on the Camera – That opening organ is one of my favorite moments on Honey Locust Honky Tonk. This plays like if ELO was tasked to provide the soundtrack for an old Western movie. Bob has crafted his own prog spaghetti western genre and it’s wonderful. “And you’ll ask for one ceasefire moment in this rapid succession reflex display. When her eyes play tricks on the camera and her mind plays tricks on me.” (10)
9. Find a Word – Great rumbling bass line provided here by Tobias. Balanced out by some jangly guitars and Bob’s fantastic vocal melody. Another one of those short songs that leaves you wanting more. (7.5)
10. I Have to Drink – That dirty opening guitar riff brings to mind The Stones’ classic cover of Robert Johnson’s “Stop Breaking Down.” Bob teases us with one cocksure verse before cutting this one off a mere 44 seconds in. Swagger out the ass on this track. Snippet hall of fame candidate. “I have to drink to that you, to all that you do.” (9)
11. Flash Gordon Style – Pollard maintains the swagger rock vibe on this sweeping stomper. Love the little “beep-beep!” spacey effects Tobias incorporates in the intro and outro parts. Similar riff on We All Got Out of the Army’s “Cameo of a Smile” on this wheelhouse of song for Pollard. Would also slot in well on any of the GBV reunion albums. (8)
12. Igloo Hearts – Second track recorded at Pollard’s new home studio, The Public Hi Fi Balloon. Fidelity drops significantly with tinny drums and Bob’s vocals distorted to the point of being very difficult to comprehend. I do dig that guitar line that loops throughout. (6)
13. Shielding Whatever Needs You – Another short, snippet of a song featuring a majestic Pollard vocal melody and some great acoustic guitar work. Tobias gives it a very subtle boost with some studio coloring. (7)
14. I Killed a Man Who Looks Like You – The closet Bob comes to staying true to the album’s title and cover is this excellent folk murder ballad. Guitar sounds like it was played by Peter Buck. I even hear some Cure-like gloom in the arrangement and Bob’s detached vocals. Just a very unique and wonderful addition to the Pollard repertoire. “I killed a man who looks like you. I don't understand the things a man won't do.” (10)
15. Real Fun Is No One’s Monopoly – Bob shifts gears with a dirgey stomper featuring a cacophonous chorus bringing it to its conclusion. (6)
16. It Disappears in the Least Likely Hands (We May Never Not Know) – The lyrics here are pretty simple. All you have to do is read the title. Mid-tempo, classic GBV feel with some atmospheric spritzing from Tobias. (7)
17. Airs – It all comes together on the closing track. Tobias dropping some phenomenal bass lines. Bob’s finest vocal performance on the record. That piano adds such an emotional punch to the song. It’s incredible how Bob can take that same melancholic, defiant-in-the-face-of-defeat feeling and cloak it in a variety of styles and arrangements. This isn’t an anthemic fist-pumper. It’s a breezy pop song, packed with subtle hooks, that gets injected with a healthy dose of Bob’s trademark nostalgia and some of Todd’s best production work. Crank it up and let those Miller Lite tears flow. “Jaded and remote, tonight. Outtasite.” (10)

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Unofficial, fan-made music video for "Her Eyes Play Tricks on the Camera"

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Unofficial, fan-made music video for "I Killed a Man Who Looks Like You"

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Blazing Gentlemen (2013)

The press release for Pollard’s second solo (and SIXTH overall) album of 2013 wryly states:

Blazing Gentlemen is the last Robert Pollard record. That will be released in 2013. It is also the finest Pollard-related record to come out in this or several years, aural evidence of a rock mage reinvigorated by the fact, according to the man himself, that he's "finally figured out how to write a song after 55 years."

Never hesitant or unwilling to mix up the songwriting process, Pollard utilized yet another approach for Blazing Gentlemen. The first step of the process was creating the song titles themselves. For this, Bob, ever the collagist, cribbed from overheard conversations, common phrases, or lines from movies or TV shows to create unique-sounding titles. Once the titles was settled upon, he began the process of crafting lyrics to match these random generations. After the lyrics were completed, Bob added melody for each of the lyrics and then built the chords out on guitar to match the melodies. Longtime collaborator Todd Tobias returns in his familiar role as multi-instrumentalist, producer and engineer. The record was, once again, recorded in Todd’s Brecksville, OH home studio, Waterloo Sound. Reflecting back on the recording process for Blazing Gentlemen, Tobias offers the following:

I would have liked to take this album to another producer, or at least to another studio better equipped to handle high energy rock with a better drum room, better drum set, better amplifiers, and most of all a better mixing board able to handle the extra headroom needed for loud, high energy rock. I don’t think it’s a poor recording, but it could have been better and packed more of a punch.

As Todd states, Blazing Gentlemen is a big rock record. A lot of it sounds like it was written for GBV in mind. Of course, only Bob knows the real inspiration and intention, but to my ears, many of the tracks are indecipherable from a lot of the classic lineup reunion material. The simple answer is “it’s all Bob anyway,” but there has always been a different style and feel to the albums Bob makes as a solo artist and those he crafts with Guided By Voices, Circus Devils, Boston Spaceships, Acid Ranch, Cash Rivers and The Sinners and the various other side projects he has been involved in over the years. If you like the garage rock leanings of Pollard, this one delivers and stands as a remarkably solid solo Bob record.

1. Magic Man Hype – Love how the start of the song cuts in with a very Mitch Mitchell-sounding guitar riff. The album announces itself with blistering guitars and thunderous drums, serving as a great tone setter for what is about to unfold. “From the order of stone, a left-handed prince claimed ‘the puppet will survive.’” (7.5)
2. Blazing Gentlemen – While the guitars still roar, the tempo is slowed down a bit on this prog-tinged rocker. One of two songs on the LP to break the three-minute mark. The outro of this song features some excellent grimy guitar and that great, repeated “What can I do, I like you…” chorus. “At the bleeding nose conference, and two would say for sure the final rhythm speaks the truth. All prophecies extended hands to rock and roll revolution.” (9)
3. Red Flag Down – The last track added some prog to the rock equation and this one injects some psych, particularly in how Bob delivers the vocals. The song features a superb, pulsating guitar riff throughout. Love the fuzzy affect Tobias achieves with the production. “Absurd blisters are a maximum factor and you cannot compare them with anything like it, anytime or anywhere.” (8)
4. Storm Center Level Seven – Hooky, stop-and-start song ideal for maximum fist pumping. The track just starts working you into a lather and then cuts out on you at just under a minute and a half. “You've already won my heart with your interrogating smile and the letters you sent me.” (8)
5. Return of the Drums – Considering the drama with former GBV drummer, Kevin Fennell, that had just occurred months before the release of the album, I have to think this song was inspired by those events. According to Tobias, “Speaking of “Return of the Drums,” I hoped it would not be too obvious, but in terms of the treatment, I took Roy Orbison’s “Pretty Woman” as inspiration. The guitar bits are probably the giveaway.” “You're out of the swamp. You get out of the swamp. You're finally out. Return of the drums.” (6)
6. Piccadilly Man – The lone sub-minute song on the album is a moody, minor chord snippet with some Tobias-added string arrangements. Serves as a nice respite from the heavy nature of the first side. “Sweating under glass, a handy position. Cadillac shoes, enjoy his condition.” (6.5)
7. Professional Goose Trainer – Song that has some garage punk growl, but also features some a cappella, deliberately-paced, preaching-from-the-altar Pollard vocals. “You want something more priceless, but you eat too much, shit too much.” (6)
8. Extra Fools’ Day – Another song where it sounds like Mitch Mitchell is guesting as the guitarist on a Pollard solo album. Song delivers a healthy dose melody and hooks in an economical 1:36. “The secret's in the mud, and would you risk a felony?” (7)
9. 1000 Royalty Street – One of the hardest-rocking songs in the Pollard solo catalog that bleeds heavily into the red. Guitars buzz with some serious intensity and Tobias goes crazy on the kit. This track packs a major wallop. Some great tempo shifts featured as well. Bob giving some possessed, double-tracked vocals on the outro. “My personal interest guarded. My caution and royalty discarded in the street.” (8)
10. My Museum Needs an Elevator – Comes off as two different song concepts stitched together, switching back and forth between the two throughout. The first concept is a high-tempo, classic-sounding GBV type of guitar-driven song. The second one is a more deliberate, plodding, ominous Circus Devils-like psych assault. “I have fallen and I can't get up. I'm up and I can't get down.” (7)
11. Tonight’s the Rodeo – Eleven tracks in Bob delivers the sweet, creamy goods. This is a fantastic, straightforward pop song. No gimmicks or artificial sweeteners. Loaded with hooks. An essential track in the Pollard solo catalog. “Listen to me, and whether or not you agree, I'll see you tonight.” (10)
12. Tea People – Album gives us our second consecutive mining of pop sweetness by dialing up those catchy 60s “Bop-bop-bops.” It sounds like Bob took a Turtles song and filtered in through his own unique Tobias-dusted rock formula. You can absolutely hear the inspiration, but it sounds so uniquely original. “An excellent cake, so happily done and quick to bake.” (7.5)
13. Faking the Boy Scouts – This song exudes so much joy with a bouncy happiness. Love those “Ahhhhhhhhhhhh-ahhhhhhh- ahhhhhhhhhhhh-ahhhhhhhs” added to the chorus. Most complex chord changes on the record. Perfect soundtrack to those sunny, low-humidity late spring days. All of which is incredible when you consider this song is most likely a scathing critique of the Boy Scouts and the sexual abuse scandal. “Death for a living, burning the sect. A sleepy child wakes up, unrested and wrecked.” (9)
14. Triple Sec Venus – Another song that has a strong GBV feel to it. Some outstanding down-stroked guitar goodness. I love how the song sounds like it comes to an abrupt end at the forty-five second mark only to restart two seconds later as if nothing happened. “And I'm practically nuts in the poison Ivy League, with rare tuxedo and infamous parties.” (8)
15. This Place Has Everything – Second song snippet on the record. Starts off as a simply-strummed guitar accompanying Bob in his speak-sing posture. Drums come in to dramatic effect and the song effortlessly begins to lift off before quickly fading out. “Desire to walk in dreams, in a place with everything.” (7)
16. Lips of Joy – Familiar GBV-styled stop-and-start guitar stylings. Another song with some thump, but I find this one makes less of an impression than some of the other rockers on the album. “Find a hole. Find a zone. Lips of joy are all alone.” (6)

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Unofficial, fan-made music video for "Tonight's the Rodeo" using Pollard's collages

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Faulty Superheroes (2015)

After 2014 saw no solo Pollard album for the first time since 2005, Bob reemerged in 2015, releasing his twenty-fourth solo LP. Joining Bob and Todd Tobias this time around is former GBV drummer Kevin March. Pollard had pulled the plug on GBV again, following 2014’s Cool Planet. The songs that appear on Faulty Superheroes were originally intended for a seventh Guided By Voices classic reunion album, but instead received the Tobias-polished solo treatment. And although GBV was done again, Pollard had no intentions of slowing down. With GBV barely in the rear-view mirror, he formed a new band, Ricked Wicky, featuring Todd Tobias on bass, Kevin March on drums and Nick Mitchell on guitar. Ricked Wicky released a staggering three LPs in 2015 – I Sell the Circus, King Heavy Metal and Swimmer to a Liquid Armchair. In addition to the solo album and the three Ricked Wicky albums, Bob and Todd somehow managed to release a thirteenth Circus Devils record, Stomping Grounds. In essence, Faulty Superheroes is ¾ Ricked Wicky, with Nick Mitchell not a part of the recording. The album manages to pack a dozen Pollard rock classics into an economical thirty and a half minutes. Having March behind the kit brings new fire to a Pollard solo album. It also allowed Todd to focus on playing bass and adding supplemental flourishes as necessary. As has been the case for the last several years, the recording once again took place at Tobias’ Waterloo Sound home studio. Faulty Superheroes is also the last solo album with Tobias as the collaborator, ending an incredible eighteen-album solo run that dates back to 2004’s Fiction Man. Their final Circus Devils record, Last Laughs, was released in 2017. Todd reflects back on his final Pollard solo project:

Bob, Kevin and me made a good band (3/4 of Ricked Wicky). A better band would have been Bob, Kevin, Doug Gillard and me, with me concentrating on bass and keys. In hindsight I wish I had put the idea to Bob to ask Doug to play guitar on this album. But at that time GBV had not been reformed and Doug was not in the picture yet. At any rate Doug would have done a better job than me. Many of the songs seemed to be asking for the sort of playing Doug is good at.

Faulty Superheroes is dedicated to Robert Ellsworth Pollard Sr. who passed away shortly before the album was completed.

1. What a Man – The Fading Captain reverses course and goes with the rare fade in to kick off the album. Once this kicks in, it’s a relentless rhythm section assault with Pollard’s friend, Steve Hopkins, guesting as the bassist. The opening line spoken by the pastor at Bob’s father’s eulogy was, “What a man!” “Sick between the eyes, but sicker to his heart. Drawing to the end, but closer to the start.” (10)
2. Case of Elimination – According to Bob, “It’s where the hipsters hang and verbally spar to prove intellectual superiority. Don’t go in there.” The March effect really takes hold on this track. Thunderous drums and teeth-rattling power chords. GBV! GBV! GBV! “Why do you blame time? I think you've got a good suitcase.” (8.5)
3. Faulty Superheroes – March contributes a great drum stomp here on the title track. Fantastic, fist-pumping chorus. Some great guitar work from Bob throughout. The outro on this one SMOKES before coming to abrupt halt. According to Pollard, “We have our heroes from every arena in this video game. The criminally insane are winning.” “Warped and weird, they get smeared, then the game is over.” (8.5)
4. Faster the Great – Opening guitar reminds me of Paul Westerberg’s “Knocking on Mine.” Pollard’s semi-cryptic thoughts on the song are as follows, “He’s the best of all. The most daring. The most dangerous. The most ambitious. And everywhere he goes he does it fast by automobile. He has to be home for dinner.” This short, punchy garage power pop nugget is the stuff Bob can crank out with what seems like such incredible ease. “Slugging the cola, the sugar-free cola.” (7)
5. The Real Wilderness – Tied with the closer as the shortest track on the album (1:28) is this great little hazy, atmospheric track. Sounds like a companion piece or little brother musically to Choreographer Man of War’s “7th Level Shutdown.” Todd’s bass really shines on this song. “The unquenchable maggot thirst for garbage blood.” (7)
6. Photo Enforced Human Highway – Love the reference, intentional or not, to Neil Young’s film or song, "Human Highway.” Bob and Todd dial up the prog on this track. Opening guitar part contains shades of the stripped-down “Teenage F.B.I.” riff. Bombastic Who-inspired stop-and-start hooks scattered throughout. Also, reminiscent of the fantastic “Secret Star” off Earthquake Glue. Bob reflects, “This is where the faulty superheroes are failing. There isn’t much they can do. But it’s all being monitored, and punishment is administered accordingly.” Epic track! “A nation snoring in the bible grass.” (10)
7. Take Me to Yolita – Add this to the ever-expanding list of tremendous Pollard song titles. Along with “Up Up and Up,” served as the co-single for the LP. The man himself weighs in with some additional perspective – “Of course it was originally “Take Me to Your Leader”. Yolita is the untouchable phantasmagoria to some. A succubus to others. All in an inescapable dream of being lost. A mirage.” Moves back and forth between light & breezy and fist-pumping, arena rocker. Another track that benefits mightily from March’s presence. “"Everyone was hers," you said. But then again, you wanted in - a hell of a guy.” (8)
8. Up Up and Up – The second fade in of the record is another winner. March’s drum and that intoxicating repeating, rolling guitar riff play off each other as you get pulled into one of the sweet creamiest songs in the Pollard universe. This song conjures such powerful nostalgic feelings. When this comes on, I am teleported back to those summer carnival days, cotton candy plastered on my sweaty face, excitedly running from ride to ride. “Softer than the coveted silence, you advocate for higher than your realm. We're all falling in line.” (11)
9. You Only Need One – Settles back into the familiar, GBV-like mid-tempo sweet spot. Bob’s guitar smolders and bites. I’ve said it on some of the previous write-ups, but I’ll be damned if that guitar tone doesn’t bring to mind Ronnie Wood’s work in Faces. Not only does he play a mean guitar, he offers sage advice – “Hero that is! Or God. But you have to exercise great patience before making your choice. Be careful.” “If you're hoping for something that's cheaper but nice, that can cover up your weakness and expand your uniqueness.” (7)
10. Bizarro’s Last Quest – Some ominous prog gloom added to the mix. Major road-weary vibe to this track. Bob providing some additional context – “This one is actually making a move. All the way to Mozart’s throne somewhere in the celestial spheres. He’s following the sights and sounds in search of the perfect note that Pete Townshend couldn’t find. He’s almost there.” Very different than much of the material on Faulty Superheroes. Would find a welcome home on Moses on a Snail. “Believing the doctor correct and whatever can we expect?” (8)
11. Mozart’s Throne – Todd dials up the Circus Devils psych freak energy. Was this intended for the 2015 Stomping Grounds album? Those guitars also bring to mind 2008’s Robert Pollard Is Off to Business. “Yeah, I'm going down. Follow the notes, the pattern of signs, delirious.” (6)
12. Parakeet Vista – Bob elects to close the record with a somber acoustic ballad. Love the sounds Bob elicits from picking the guitar. And just like that, it’s over. (6)

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Of Course You Are (2016)

Ricked Wicky bandmate Nick Mitchell steps in to fill the role occupied for the past dozen years by Todd Tobias. Mitchell takes Bob’s demos and provides all the instrumental parts in his home studio, Any Road Studio, while also serving as the producer and engineer for the solo project. Of Course You Are is another tight, twelve-track affair that occupies just over thirty-two minutes. Another switch is the LP was released on Fire Records America instead of Guided By Voices Inc. A handful of tracks originally appeared in demo form on Suitcase 4: Captain Kangaroo Won the War before receiving the Nick Mitchell treatment. With Mitchell at the helm, his unique use of keyboards, horns, and strings give Of Course You Are a different aesthetic from Pollard's previous solo albums. Just like it is on those excellent Ricked Wicky records, Mitchell’s guitar tone is more stadium rock than indie rock. Three of the 4 Ps (pop, prog and psych) exert their influence on the record, which has more of an overall classic rock vibe than many of Pollard’s previous solo projects. It is also the last solo album Bob released, dropping four years ago. Whether or not he continues to release solo LPs remains to be seen.

1. My Daughter Yes She Knows – The album announces itself with a punchy, riff-heavy 70s-styled rocker that would’ve been blasting out the windows of Camaros, GTOs and Chevelles in high school parking lots across America had it been released forty years ago. According to Mitchell, “That song is probably the most accessible, crossover ready song in his catalog. It could easily be heard on a "Mix 107" type of station. Just a perfect, beautiful pop song. Purposefully "slicker" in production and the instrument parts, on purpose. Hit Song on an album of 11 other Hit Songs.” “Northern icelands melting slow cannot save them this I know. Into sipping cups they spill, spike and try them if you will.” (10)
2. Long Live Instant Pandemonium – The heavy riffage continues on the second track. Some great herky-jerky playing from Mitchell. Bob’s vocals sound like they were recorded a little further away from the microphone and have a slight echo to them. Bob and Nick channeling their inner Foghat. “And long live instant pandemonium. Burn me a copy of your soul tonight, baby.” (9)
3. Come and Listen – The mood changes considerably with a minor-key ballad supplemented by lush orchestral strings. Bob’s vocal performance perfectly matches the melancholic arrangement. It’s a song like this that offers some perspective as to why Bob made the decision to break from the collaborative relationship with Todd Tobias. This is a new direction and sound and it suits Bob well. (7)
4. Little Pigs – The album returns to a more familiar breezy, mid-tempo spot that Pollard has mined for decades. Nick adds a welcome horn section to bring this track to its conclusion. This song fully satisfies the pop component of the 4 Ps. “I want all things to be inclined to be what I want all of the time.” (7)
5. Promo Brunette – Demo version originally appeared on Suitcase 4. Those 70s-styled, hard rock riffs return. Love the Mitchell solo during the bridge. Song is a bit too repetitive and doesn’t measure up to some of the other riff-heavy songs on the record. (5)
6. I Can Illustrate – Lots to unpack on this track. It begins with a simple, one chord riff and then progresses seamlessly through both major and minor, culminating with another Mitchell guitar solo. A powerfully-strummed acoustic guitar adds some great volume to the song. Pollard provides another strong vocal melody. “Generate an architecture. Penetrate the cracks. Propagate a brand new path of destruction all over the ground after everything upside down.” (8)
7. The Hand That Holds You – Another “sad clown” mid-tempo Pollard song, with a sorrow that hangs over it. Mitchell dips into his instrumental bag and adds a neat organ part in the latter half of the song. “But maybe it won't keep you much longer, what doesn't kill you makes you strong.” (7)
8. Collision Daycare – Bob livens things up again with this jangly, hook-laden track, with Nick providing some nice bounce. The creamiest song on the album. “If you've got a rocket, let it go…” (7.5)
9. That’s the Way You Gave It to Me – Light and breezy song that borders on schmaltzy. Mitchell dials up those lush orchestral adornments (mellotron flutes!). Like “Promo Brunette,” an excessively repetitive chorus. “Shine your boats, they’ve got places to go.” (6)
10. Contemporary Man (He Is Our Age) – Those trippy keys at the beginning are a great stage-setter. Some fantastic acoustic guitar work from Nick on this track. Leans both into the psych and prog components of the four-part foundation. “God takes a lot of concentration.” (6.5)
11. Losing It – Mitchell cooks up some spooky, swirling psychedelic studio brilliance. Shades of pre-Ziggy Stardust Bowie creep into this one. I’m guessing Bob told Nick to give it the Circus Devils treatment and this is what he came up with. I dig. “Like takin' acid, runnin' naked through the town, climbin' houses. Don't try to talk me down.” (8)
12. Of Course You Are – The LP closes with the title track and its dreamy, meandering acoustic intro. Makes a successful transition to an anthemic, sing-a-long that would make for an energetic live crowd-pleaser. “Are you there when the fat lady sings? Are you mixing your potions with the shit talk and all that it brings?” (8.5)

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"My Daughter Yes She Knows" live at The Independent, San Francisco 8/23/16

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"I Can Illustrate" live @ The Accord in Champaign, IL 5/3/16

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"Of Course You Are - Motor Away" live in New York, NY 7/9/16

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And that concludes the Pollard solo catalog. Shall I move onto Boston Spaceships?

[tinnitus photography]

And that concludes the Pollard solo catalog. Shall I move onto Boston Spaceships?

Circus Devils.

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And that concludes the Pollard solo catalog. Shall I move onto Boston Spaceships?

Circus Devils.

[tinnitus photography]

well if you were just expecting a 'yes' vote, just say so


yeoman service on the GBV catalog... i think there are at least a handful of records i've never listened to.

[chuckrh]

I tried to collect everything for a long time. I finally had to give up, it was just too much.

[cortez the killer]

well if you were just expecting a 'yes' vote, just say so


yeoman service on the GBV catalog... i think there are at least a handful of records i've never listened to.

Lots to absorb.

I'll get to Circus Devils at some point. I think I'll transition to Boston Spaceships next.

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Brown Submarine (2008)

In the summer of 2008, Pollard announced he had formed a new band that would release an album in September and embark on a seventeen-date fall tour. Consisting of Pollard on vocals, John Moen (The Decemberists) on drums and Chris Slusarenko (Guided By Voices, The Takeovers) on bass, guitars, keyboards and bowed instruments, the new band was called Boston Spaceships, which is the nickname Pollard came up with for his favorite Krispy Kreme treat – the Boston cream donut. The press kit for the new project stated the following:

"This is this you know..." Though you'll notice some subtle prog flourishes and acoustic strums, Brown Submarine is a pop punk album, made by and for kids who've worn out the grooves on their Cheap Trick, Alice Cooper, Wire and dBs records. While Pollard has stretched out post-GBV , experimenting on each of his diverse and unique solo records, Boston Spaceships rock hard, have fun and drink Miller Lite. Without undue hyperbole, Pollard is penning fantastic pop songs in a style no longer fashionable, perhaps we should say, never fashionable. Makes no difference, on Brown Submarine, Pollard's charged up and sings his ass off. Mr. Pollard was so enthusiastic about this album that he's decided to play his first proper club tour in two years. This from a guy who hates flying, goes bananas sitting in the van, and who has turned down tours with Radiohead and the Strokes. Give Brown Submarine a spin or two - it'll make you feel like a kid again, too.

Pollard utilized the same recording process he had settled into with Todd Tobias on his solo albums. For Brown Submarine, Bob sent a cassette of his boom box demos to Slusarenko, who recorded all the instrumental parts, along with Moen, in Portland, OR. Once the instrumentals were done, they were sent back to Ohio where Bob headed over to Tobias’ Waterloo Sound studio and recorded the vocals. From there, Todd mixed and mastered the album for the world to hear. Slusarenko had worked with Pollard before in Guided By Voices and the side project, The Takeovers, so he was tasked with the responsibility of making Bob’s vision a reality with the instrumental parts. Reflecting back on the recording of Brown Submarine, Slusarenko recounts, "I also wanted there to be an acoustic element to the Boston Spaceships—but one that would rock. Not singer songwriter-ish but Kinks/Who-ish. Bashing it out. I like that some of Brown Submarine feels both laid back and punchy at the same time. I was surprised listening to it again how thin most of the electric guitars are. There is very little distortion on this record." As for the percussion, according to Slushy, his instruction to Moen for the recording was to envision “Keith Moon meets the Stranglers; Play like your heart was giving out in the choruses.” Brown Submarine is an excellent album that stands alongside anything Pollard has released with his former band, GBV. It also set in motion one of my favorite things Bob has ever done – Boston Spaceships.

1. Winston’s Atomic Bird – Whoa! Almost sounds like GBV has reformed. Moen killing it behind the kit. Slusarenko, no stranger to Pollard’s former aforementioned band, hitting all the sweet spots with those riffs. Great start to the new project. “Now she's a head case with her soul re-wired. Captain she's gonna blow. Salvation climax, convoluted eye-max.” (9)
2. Brown Submarine – Title track is the shortest on the LP (1:22). This gloomy dirge features some cool cello courtesy of Slusarenko and Moen providing some tasteful toms. “And the old men is boats are the ghosts of the sea.” (7)
3. You Satisfy Me – Tremendous hooky guitars on this perfect power pop track that measures up to any of those gems on the power pop classic, Isolation Drills. According to Slushy, “So the acoustic might be just playing the higher notes only and the electrics would be playing the lower notes of that chord so together they form one complete chord but from two different realms.” Some really neat double-tracked Pollard vocals on the sweet creamy outro. “I like the way it shines. I keep it glowing all the time.” (11)
4. Ate It Twice – Those acoustic guitars sound like they are from another universe. Hooks to be found throughout with Bob altering his vocal stylings. Slushy got really creative here, especially with the percussion – “Then when the drums come back in at 1:02 I had John play percussion on a bunch of pots, metal bowls and pans I had brought over along with two wooden spoons. In my youth I liked Wall of Voodoo and their percussionist Joe played pots and pans and I always thought that seemed underused.” Great pysch freakout during the outro. Really cool-sounding track. “I thought I could trust you. Paralyzed, I try. Hands at self-destruction, gimme all your time.” (8.5)
5. Two Girl Area – Back to the Big Star-influenced power pop zone with Bob really playing up the faux British accent. Love when he does that. Slusarenko’s guitar work, both acoustic and electric, is exemplary. Hooks all over the place. “Oh well, she’s thick on supposes, just needs to shine. Confesses she likes Guns n' Roses, says Axl's alright.” (10)
6. North 11 A.M. – Another dreary, somber-sounding track that discovers a way to lift out of the misery and make an attempt to lift off. It never builds to full climax, but it’s still a neat folk-prog track. (6)
7. Zero Fix – Punk rock with a spritz of psych spirit. According to Slushy, “Our first attempt at lo-fi, post-punk Who all together.” Bob conjures up some seriously menacing vocal stylings to match the music arrangement. That growl during the bridge will haunt your nightmare for years to come. Sounds like Boston Spaceships making an attempt to do a Circus Devils song. Love the bizarre voice message snippets tacked onto the beginning and end. “Hey Bobby, listen to this kid…” (9)
8. Psych Threat – Dizzying guitars and verses power this one along. Bob delivers these stream of conscious vocals at warp speed. Slushy drew inspiration from The Who’s “I Can See For Miles” as he came up with the arrangement. Another wholly original-sounding song. “Right on, Roger. Exactly. Fuckin' A. Be an honor. Absolutely - a privilege.” (8)
9. Andy Playboy – Super light and breezy pop song. Another minute-and-half earworm that will camp out in your ear canal for weeks. Similar bounce to “Two Girl Area,” but the guitars don’t ring and jangle like they do on that pop perfection. That said, the hooks to mine are pretty amazing. Some excellent “La-la-la-la-la-la-la-la-la-laaa-la-la-laa’s” during the outro. “Here we are going with that great frail sound rather than bombastic. This was basically me matching the guitars and vibe of a Squeeze or Elvis Costello song,” reflects Slusarenko. (8.5)
10. Rat Trap – “Oh no! Not rat trap!” I can’t imagine the blisters on Slushy’s fingers after playing those acoustic guitars so damn fast. Moen getting after it on the drums. Bob moving into the psych metal world. (7)
11. Soggy Beavers – Song originally appeared on Suitcase 2: American Superdream Wow. The beginning reminds me so much of Tom Petty’s “The Waiting.” More excellent acoustic guitar work from Slushy, who claims he was trying to capture a Sunfish Holy Breakfast feel. “Soggy beavers, clogging the streets, so much sweeter than they'll never tell.” (9)
12. Ready to Pop – Another song with incredible twee bounce. I detect some 60s Kinks rhythmic influence in there. We get some horns, too! Song does sound like it is in fact ready to pop, with an overabundance of exuberance. “And I'm the fucking king, of every fucking day.” (8)
13. Still in Rome – Baritone Bob hits the absolute bottom of his vocal range. Slushy and Moen work up a swampy prog stew to compliment the mood. “I went for lo-fi prog rock—a less talented Gentle Giant,” recalls Slushy. We get some abrupt buzzing psych blasts worked in before the strings settle things down for a bit. The song morphs into a growling punk rocker with some wicked snarling vocals from Bob before the Fading Captain steps in and does his thing. All this in under three minutes. “Treason! Whoring around! Shall I show them thumbs down?” (7)
14. Go For the Exit – Amazing slice of power pop brilliance. Originally appeared as “Go For the Answers” on Suitcase – Failed Experiments and Trashed Aircraft. As good, if not better than, anything on #1 Record. Starts out with some with some more tasteful acoustic strumming by Slushy before it takes off and absolutely soars. Bob’s vocal melody is otherworldly. It all comes together on one of the best closers in the entire Pollard discography. Slushy with a killer solo during the outro. This track is just sheer fuckin’ brilliance. “To the summer and fall of man. To be with angels for a while, drunks and dealers, demons smiling.” (11)

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Promo video for Brown Submarine

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Official music video for "Winston's Atomic Bird"

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Boston Spaceships "You Satisfy Me" live in Philly 9/29/08

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Boston Spaceships "Zero Fix" live @ Highdive in Champaign, IL, 10/9/08

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The Planets Are Blasted (2009)

It took just five months for Boston Spaceships to deliver a follow-up to their excellent debut album, Brown Submarine. In fact, as Slusarenko and Moen were laying down the instrumental parts for Brown Submarine, the boom box demos for The Planets Are Blasted were already in Slushy’s possession. The Portland, OR studio utilized for Brown Submarine was not available this time around, so Slushy and Moen headed over to Jonathan Drews’ Last of the Explorers studio, also located in Portland, to lay down the instrumental parts for this record. Interesting to note, Slusarenko, Moen and Drews would go on to form the band, Eyelids, which has released four LPs, including this year’s outstanding The Accidental Falls. Once again, with the help of Todd Tobias, Bob recorded his vocals over the music at Waterloo Sound studio in Kent, OH. The trio welcomed some addition help on their sophomore album, with former GBV bassist Greg Demos providing some lead guitar on a pair of tracks. Moen’s bandmate from The Decemberists, Chris Funk, provides pedal steel on a track, and Kaitlyn ni Donovan, studio owner Drews’ partner, handles the string arrangements on a couple songs. The release notes for the album do a good job laying it out:

This nuanced and transcendent rock album culminates with four of Pollard's best songs yet. The majestic and metaphorical "Queen of Stormy Weather," who threatens to "pee on my parade," is followed by "The Town That's After Me," which combines acoustic, electric guitar and strings to stunning effect. "Sight on Sight," a four-minute mini-epic, detours to otherworldly chants, echoes and drones, sitars, handrums, and tambourines, but rocks like heck, and the verse of "Heavy Crown" is melodically reminiscent of the Guided By Voices hit "Everywhere With Helicopter," but Pollard ups the ante with an even better chorus and then goes over the top with a still catchier refrain.

Coming right off the heels of a tremendous debut album and tour, Boston Spaceships deliver another top-notch album, with Side 1 rivaling anything Pollard has ever released. Yes, it’s that good.

1. Canned Food Demons – Moen’s steady drumming featured during the intro. Love when that next gear kicks in at the thirty-nine second mark. Strictly a three-part track (guitar, drums, vocals) with no bass to be found. Slusarenko working in that classic Beatles to close this one out. “I laid out Freezer’s Ghost and Gourmet. I licked and lost the taste test she won.” (10)
2. Dorothy’s a Planet – Love the swirling backward track effect on the beginning of this Suitcase remake. Beautiful acoustic guitar part from Slushy. Moen adding all the best fills. Love the lyrics and Bob’s vocal performance. Just a gorgeous song. “And revolving like a halo, she says, ‘Hello world, did you make sense of it today? ‘Cuz it’s okay.’” (10)
3. Tattoo Mission – The band dials up the T. Rex/Bowie glam rock on this sleaze-brushed track. Slushy attempts to clean it up a bit with some cello courtesy of Pam Snyder to soften the trashy vibe. Greg “Canned Food” Demos makes a guest appearance on guitar. “One more for luck shall kiss off. Exaggerated in Bombay…” (9)
4. Keep Me Down – After a stab at glam, Pollard and the crew move back into the Cheap Trick-inspired, propulsive power pop territory they execute so well. Melodic hooks peppered throughout. A slowed down version of the song showed up down the road on GBV’s 2017 album, August by Cake. I prefer the Boston Spaceships version. More Demos shredding here. “I’m driven to you, I’m driven to drink. God make it your heart.” (8.5)
5. Big O Gets an Earful – It sounds like a storm cloud moving in as the record moves into the prog zone. Slushy’s bass and Moen drumming prominently featured on this ominous-sounding track. “Exonerate our reputations. What’s there for ordinary people also?” (9)
6. Catherine from Mid-October – Love the sound captured on Moen’s drums. Some more fantastic acoustic guitar playing by Slushy. The song originally appeared in more sparse form on Pollard's 2005 Zoom EP. The addition of Moen and Slushy to mix really bring some life to the track. “Our home, our Christmas selves, our bones, where all thoughtlessness and carelessness be thrown to the autumn of our categories.” (9)
7. Headache Revolution – Lead single for the LP is a Who-like bombastic song containing very few vocals. It’s more about Moen channeling his inner Keith Moon and Slushy taking a stab at being Pete Townshend. “My lake of worry concerns you. Do you feel unwanted?” (8)
8. Sylph – One of the more complex stylistic songs the band has tackled. Moen’s Decemberists bandmate, Chris Funk, sits in and provides some pedal steel. “Climate control in her hot treacle bowl, happy to be what she tells us to be.” (8)
9. UFO Love Letters – Nobody loves penning songs about flying objects, identified or otherwise, like Robert Pollard. This one is punctuated by those crude, buzzing guitars. According to Slushy, “It’s kind of like a Alice Cooper song too. Often the songs we were doing were reflective on what Bob was listening to. I’d get a Alice Cooper comp or a Sparks comp from him and then you see a little of their influence seeping into what I was handed next.” “Daylight hurts when sometimes we’re making love.” (7)
10. Lake of Fire – A nice vocal melody from Bob on this song that is dominated by strings provided by Kaitlyn ni Donovan. Doesn’t seem to match or fit the vibe on the record. “Perhaps the salt of secrets on the tables I have chosen.” (5)
11. Queen of Stormy Weather – Kaitlyn adds more strings, but more in a complimentary role on this fantastic jangle pop track. According to Slushy, “I basically told Jonathan to make it sound like The Verlaines so we made the guitars have that really ring to it and that punchy bass. The organ that comes in is a dead give away. So Flying Nun.” Love’s Bob’s vocal delivery here. “There will never be a time to pee on my parade.” (9)
12. The Town That’s After Me – The first track recorded for the project is the shortest one on the album, clocking in at a mere 1:17. Leaves you wanting more. Some great handclaps provided by Bob during the outro. “Then comes the look – it’s always much colder. It’s to expect – I guess they’re afraid.” (7.5)
13. Sight on Sight – Pollard going back to his GBV song-collage roots on this track, with multiple snippets pasted together to create a somewhat cohesive whole. Reflecting back on the recording, Slushy offers, “I thought I would approach this one kind of like "Uncle Albert" off of Paul McCartney’s Ram.” The section that comes in at the 2:24 mark is pure Who brilliance. Super ambitious track that Bob and the band pull off. “Yeah, I’m not a real brother, but I’m not a fake lover. I just swim better in my suit of rubber.” (8)
14. Heavy Crown – The closing track is a garage rock nugget that originally appeared on Suitcase 2: American Superdream Wow. I just love the guitar tone achieved by Slushy here. No offense to Todd Tobias, who I think is a genius, but Bob needs a strong drummer like Moen (or March) to bring that extra thump to his songs. I’ve said it multiple times now, but Bobby Pollard knows how to close an album. As the release notes mention, the melody here recycles the excellent “Everywhere with Helicopter” off 2002’s Universal Truths and Cycles. “Oh shit, I’ve taken a hit. I fall down with my heavy crown.” (10)

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Boston Spaceships "Headache Revolution" live in Philly 9/29/08

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Unofficial, fan-made music video for "The Town That's After Me"

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Boston Spaceships "Heavy Crown" live @ The Grog Shop in Cleveland, OH 9/26/08

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Zero to 99 (2009)

Why slow down when you are in the zone? Although they had only been a band for just over a year, Boston Spaceships were back with their second release of 2009, and third overall. Pollard, who obviously subscribes to the “if it ain’t broke, don’t fix it” philosophy, maintains the same recording methodology applied to the first two Spaceships records. However, with Boston Spaceships fever overtaking the music industry, the band was able to recruit some special guests this time around. Peter Buck and Tommy Keene contribute their six-string talents on a track; Keyboardist, Scott McCaughey sits in on a song; And Sam Coomes unleashes a solo on one of the outros. Release info for Zero to 99 was as follows:

In 2007, after swearing off ever starting another band and enjoying a successful solo career for a half-decade since ending Guided By Voices, Robert Pollard was seduced by the camaraderie of former Guided By Voices bassist Chris Slusarenko (Takeovers, Svelt, Sprinkler) and John Moen (Perhapst, Decemberists, Stephen Malkmus & The Jicks, Elliott Smith, Dharma Bums) and launched the Boston Spaceships, putting out two LPs in less than a year. Now, in 2009, on their third record, Zero To 99, they are primed to seduce fans and critics alike with Pollard's most relentlessly melodic, hook-laden, pop-punk record since Guided By Voices Alien Lanes almost 15 years ago.

Chris Slusarenko fondly recalls the vibe surrounding this project, “This was easily the most fun record to make and it might be the most cohesive. I love the sequencing —the energy from track to track. It feels exciting. Also I was given the cover art before I started recording and it really gave me a feeling of what I wanted to do with this batch of songs. There were still mysteries to be found within the creation of the tracks for sure but the album felt a lot more upbeat and goofy than Planets. It was kind of more in the spirit of some of the early GBV’s 7”s or even Alien Lanes.” Finding inspiration from Pollard’s legendary Suitcase collection of unreleased demos, snippets and songs on a quarter of the album’s tracks, Bob and the boys have crafted yet another winner. The bond and familiarity forged from touring and making multiple records really shines through on Zero to 99, making it my favorite Boston Spaceships LP.

1. Pluto the Skate – This Suitcase track gets a minor facelift. The original boom box intro is kept intact with some minor additions added on. Obvious nod to the lo-fi roots of Pollard’s early Guided By Voices days. “Is everybody happy now?” (6)
2. How Wrong You Are – Bob overexaggerating the fake British accent with some very deliberately delivered vocals on this start-and-stop track that features a simple drum arrangement and aggressively-strummed acoustic guitar. Slusarenko and Moen add some “You Can’t Always Get What You Want”-styled, falsetto backing vocals. Some cool horns during the outro. “I’d rather pay with a check, I wanna sign it and sweat.” (10)
3. Radical Amazement – All kinds of influences on this track – new wave and post-punk being two of the primary ones. Bob taking his faux British accent up another notch. According to Slushy, “It’s a bit of a cousin in tone to “You Satisfy Me” but there was something that I loved about how driving and steady it was. One beat all the way through. I told John that I wanted it sound a little like Wire and so he didn’t use any crash cymbals in the song to create a really dry feel until the very end of the song.” One of my all-time favorite Boston Spaceship songs. “And with a slight mohawk, he knows the plan, so let it slide.” (11)
4. Found Obstruction Rock ‘n’ Rolls (We’re the Ones Who Believe in Love) – Quite the mouthful of a title. According to Slushy, was inspired by the British band, The Homosexuals, which Bob and Chris had just bought a 3-CD compilation of their work. This fast-paced song definitely fulfills the punk part of the 4 Ps equation. “We’re the bums on familiar lawns, hunt it down to the rivers gone.” (6)
5. Question Girl All Right – Longest track on the album, clocking in at 4:17. Starts out as a simple, acoustic guitar-anchored song and just builds and builds throughout. Eventually morphs into a very Under the Bushes Under the Stars-sounding track. “I love the coastline. I love the coastline, so low.” (10)
6. Let It Rest for a Little While – The “hit” of the album. Tommy Keene adds some muscular riffs and Peter Buck provides some ring with his trademark Rickenbacker sound. Such a cool, detached-but-urgent vocal performance by Bob. Phenomenal track. “The best you tell through time elated, and bless the towns we watched and waited.” (10)
7. Trashed Aircraft Baby – “Well, it’s really cold outside. What do you say we warm up with some really hot rock?” Some random 80s radio DJ spliced onto the beginning of this arena rock meets glam rock mashup. Outro features a nifty little fist-pumping, soaring chorus before cross-fading into the next track. (7.5)
8. Psycho Is a Bad Boy – This borderline snippet song has some great Sticky Fingers-like horns added to it. According to Slushy, “We (again) just looped Bob’s riff off the boom box demo he gave me and then just played on top of it the best we could. The whole first part of the song is just the cassette, John on the drums and percussion.” This is a great, menacing song. “But the last one really cut me down.” (8)
9. Godless – Simple, beautiful acoustic ballad with some added keyboards and guitar parts from Slushy. “I grope for crutches on love sick drives. I wait for help, but no one arrives.” (7)
10. Meddle – Another Suitcase track for Slushy and Moen to dress up. Very R.E.M.-sounding arrangement with fantastic vocal performance from Bob. “Every thought is passing through it, won’t you let them by.” (9)
11. Go Inside – The most prog-sounding track on the record. This is one of my favorite vocal performances Bob has ever done. He adopts so many different voices, it sounds like multiple singers were utilized. Guest appearance by Scott McCaughey (R.E.M./Minus 5/Young Fresh Fellows) on keys. That dragged-out high note by Bob at the end is one of my favorite moments on the album. “Stretching outward, island-grown, living in quite mobile homes.” (11)
12. Mr. Ghost Town – This track has that Merseybeat vibe running through it. Some neat-sounding keys added by Slushy. Bob doing his best Peter Noone impersonation. Another Beatles type of accent to end the song. “Patch it up, girl, so as not to spread it all around.” (7)
13. Return to Your Ship – Slushy’s acoustic guitar sounds so clean and powerful. Some weird atmospherics added to the background by producer, Jonathan Drews. Bob adding some “La-la-la-la-la-la-laaaaaaaaa’s” during the outro. “Too much on the doctor’s watch; Restless drillers, vagabonds for sorrow’s greatest need. And her dog has fleas.” (7)
14. Exploding Anthills – Third Suitcase remake on the album. Slushy claims there were five separate guitar parts and two different drum recordings on this track. Has a cold, detached industrial sound to it. “I’ve been drinking…” (7.5)
15. The Comedian – A great, Townshend-esque riff kicks this one off. Has a bit of a Brown Submarine feel to it. Those drums that come crashing in at the 2:08 mark are sheer brilliance. Some great shredding during the outro courtesy of Sam Coomes. “You know I hate that drama thing. You know you know I hate your magazine.” (9)
16. A Good Circuitry Soldier – You can just picture Bob doing that saluting the audience thing he does as this song come on. The fourth Suitcase song of the LP features another sublime Pollard vocal melody, building perfectly before gradually falling apart during the outro. Hard to believe it’s only 1:39 long with all the emotion and power packed into it. “When the mission breaks the tribe, and the commission rakes the bribe, then I will be endlessly leaving.” (10)

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Official music video for "How Wrong You Are"