Guided by Voices/Robert Pollard

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"Red Ink Superman" Live in Chicago New Year's Eve 2004

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Fiction Man (2004)

#30 in the Fading Captain Series. Fiction Man consists of a bunch of Earthquake Glue-era demos that Bob had tossed away. Circus Devils co-collaborator Todd Tobias really liked these “rejects” a lot and recorded them while Bob rewrote some of the lyrics using some of the poems in Pollard’s literary magazine, Eat. Fiction Man is a very different record than Bob’s previous solo project. For starters, it has double the number of tracks as Motel of Fools, yet clocks in right around the same time. And while it pulls from a variety of influences, it brings the pop and prog components of the 4 Ps back to the forefront, albeit with an interesting Tobias-influenced flair. The LP features a good balance of rock songs and softer, acoustic ballads. Much like he does in the Circus Devils side project, Tobias wears several hats here, playing all the instruments and serving as the album’s producer and engineer. It was released shortly before the announcement that GBV was calling it quits and what was supposed to be the final GBV record, Half Smiles of the Decomposed. As a result, it sort of got lost in the shuffle at the time. Critical reception to the album was mixed, with the biggest points of contention being the lack of killer material and Tobias’ production.

1. Run Son Run – The Circus Devils vibe is apparent right out of the gate, particularly with those ominous-sounding synths. Lots of chaotic flourishes added to the track by Tobias. Those and the drumming distract from what could be a solid, mid-tempo rocker. This song just sort of spins in place for me. (5)
2. I Expect to Kill – While the previous track hinted at that surreal, circus nightmare vibe the Circus Devils conjure so well, this one leaves no doubt. Opens with some droning dissonance and then some oddball percussion, synth washes and a repetitive looped guitar lines. Cool-sounding guitar comes blasting in during the later-half of the track. (5.5)
3. Sea of Dead – Abrupt transition to a pleasant-sounding, lush acoustic track. Tobias on the acoustic guitar is accented well with an added string arrangement. Slight echo to Pollard’s vocals give it a haunting effect. “Hear us roar. Our hair is slick.” (6)
4. Children Come On – Classic example of less is more at times. Very little studio gimmickry on this creamy slice of acoustic pop sweetness. Love Bob’s vocal performance here. Conveys such pure innocence. Clocking in at just under a minute and a 1/2, short, sweet and very pleasing song. “Thinking of you only where I'm not so lonely anymore.” (9)
5. Louis Armstrong of Rock and Roll – Ode to Pollard’s “manager for life” Pete Jamison. Plodding, grinding mid-tempo rocker that gets dressed up with Tobias’ love for synth splashes. Bob’s vocals are distorted a bit and deeper in the mix than usual. Nice way to bring the energy of the record back uo. “The motherfucker could sleep…. and smoke.” (7.5)
6. Losing Usage – Mess of an acoustic track that struggles to stay in tune and hold together. A buzzing, echo-y electric guitar makes a late appearance on a song that sounds like just Pollard and Tobias fucking around in the studio. Has a demo/Suitcase feel to it. (3)
7. Built to Improve – Announces its presence with a blast of menacing, proggy synth that drowns out the weary, hazy electric guitar. Bob singing in that creepy, matter-of-fact, all-emotion-drained-from-his voice manner. Mining the prog and psych parts of the 4Ps. The nightmare carnival is back. (6)
8. Paradise Style – A short burst of early Who-inspired garage power pop. A nice palate cleansing track clocking in at 1:03. My only complaint is it’s too short. “It's still here, all of it. To gawk, you gotta go get higher.” (8)
9. Conspiracy of Owls – A piano ballad with the tempo cranked up a bit. There is an airy, natural flow to Bob’s vocals. Here is a track where Tobias’ string additions and synth colorings work well. Pop and prog in a harmonious union. Some of the lyrics are, sadly, too relevant today. “How can we know the conspiracy then? How can we spread the disease?” (8)
10. It’s Only Natural – Sounds like a classic era GBV track with the production touches of Tobias. In this case, the production detracts a bit from another strong Pollard power pop rocker. “Shit and check out the camel toe website. It's only natural.” (7)
11. Trials of Affliction and Light Sleeping – The nightmare circus is in full swing. This sounds like a Circus Devils/Universal Truths and Cycles hybrid – a psych/prog epic. Bob’s vocals get distorted to a chilling effect. This would be a tremendous song for a horror film soundtrack. Tobias channels his inner Doug Gillard with a wicked guitar solo during the outro. I was on the fence with this song for years, but it’s really grown on me and I appreciate it for the unique song it is. “Trial of affliction and light sleeping - I need a tour guide for my own head.” (8)
12. Every Word in the World – I feel like this is what Pollard was aiming for on Do the Collapse’s “Hold on Hope” – a creamy, sentimental ballad that stays to true to his unique aesthetic. He missed a bit on the previous attempt, but nails it here. Just a phenomenal vocal performance by Bob combined with more restrained Tobias production makes this track a winner. “Like the endless city running from time, breathing easier in it's place to hide.” (9)
13. Night of the Golden Underground – Bob and Todd going all in on the acoustic tracks. More creamy sweetness. Pollard going full-on pop goodness on this brief song. “Pass up the night, he love and the devil, the fight.” (7)
14. Their Biggest Win – Sounds like a GBV track from the period. Can definitely hear the Earthquake Glue spirit on this track. Hooks abound and soaring choruses. You know what to do with those fists. If you put Kevin March behind the kit for this one, oh mercy. The spacey synth during the thunderous outro is a nice touch. “Wild dog kill-lust never again. It was their biggest win” (9)

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Unofficial, fan-made music video for "Louis Armstrong of Rock and Roll"

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From a Compound Eye (2006)

“Massive....Epic....all over the place. It's immediate, raw, stripped down like rock is supposed to be. I think Todd captured the essence of the songs. There are 26 songs. 11 new ones and 15 written from the time I was 12 years old up until last year. That's why it's all over the place and sees in all directions at once, like a compound eye”
– Robert Pollard

From a Compound Eye was Pollard’s first release on Merge Records. It also holds the distinction of being the first double album Bob released. The album was seen largely as a reset on Bob’s career. Its release was delayed purposefully to create enough separation from Bob’s decision to retire the GBV brand and create a sense of buzz for the new project. Finding the expectations and constant comparisons to past GBV albums both exhausting and creatively crippling, From a Compound Eye was Pollard’s first opportunity to step in a new direction and further distance himself from his GBV past. And although it was an attempt to separate Bob from his past, the solo album, a new GBV biography, and DVD of the final concert, The Electrifying Conclusion, were all released within a month of each other. Recorded at Waterloo Sound in Kent, OH, From a Compound Eye is largely a continuation of the pop/prog type songs Pollard and Todd Tobias collaborated on with Fiction Man. However, this time around, the actual songs and arrangements are stronger. The album was done again with Bob recording himself singing and playing guitar, and Tobias later adding additional instrumental parts and various sounds to analog tape. Reflecting back on the project, Tobias had the following to say:

Bob’s future solo projects seemed to take off from the foundation laid down by FaCE. There are the introspective, sometimes dramatic and serious moods on Silverfish Trivia, The Crawling Distance and Moses on a Snail. There’s the friendly, self-assured, outgoing atmosphere of Coast to Coast Carpet of Love and We All Got Out of the Army. Then there are the playfully eccentric moods on Standard Gargoyle Decisions, Elephant Jokes and Space City Kicks. There’s also the joyful delirium of We’ve Moved by Psycho and The Birds. All of these moods can be found on From a Compound Eye; an album that brings many good memories.

1. Gold – Tremoloed guitar opening kicks off this album. Feels like a mood-setting snippet, but it clocks in at 3:02. Tobias adds some sparse, stabbed keys in the outro. “Gold, baby! You may set foot upon this Godless terrain.” (7)
2. Field Jacket Blues – From the video game-styled synth stabs to the heavy distortion of Bob’s vocals, Tobias’ heavy hand all over this track. Wild swings in tempo, from breakneck to stuck-in-molasses dirge. (5.5)
3. Dancing Girls and Dancing Men – Sugary-sweet pop bliss. Incredibly bouncy and catchy song, packed with hooks and Pollard’s melodic genius. “Be selective and your pride will be shown.” (10)
4. Flowering Orphan – Lush, haunting strings. Gentle touches of acoustic guitar. Bob singing in a hushed manner. Very somber, peaceful vibe to this short track. (7)
5. The Right Thing – Lo-fi opening with Bob sounding like he is singing through an old transistor radio. Tobias uses a toy whirling drum here as a rhythm keeper, dropping the pitch of it to make it sound less like a toy. Track builds perfectly from there and features a Jew’s harp solo as it concludes. Another very uniquely Pollard song. “I am high, too small in a way.” (10)
6. U.S. Mustard Company – Chiming, jangly song with a strong R.E.M. influence. Starts out light and slow and builds into a very pleasant-sounding mid-tempo track. “Contain yourself….” (8)
7. The Numbered Head – This song functions like a string of dark clouds moving in to eliminate any sunshine of the previous track. Ominous and menacing, this sounds like Bob’s contribution to the prog-metal canon. Meanders around somewhat aimlessly for approximately four minutes, before it takes off and soars during the last minute plus. “I think it’s what you enjoy. I think the trouble is now.” (6)
8. I’m a Widow – From jangle pop to prog-metal to cock rock, this album has it all. Not one of the more complex songs from a lyrical perspective (“I’m a widow and I’m hot to do you”), but the riff is big and muscular and this song does rock. Wicked Pollard guitar solo during the bridge. (8)
9. Fresh Threats, Salad Shooters and Zip Guns – What do these things have in common? You’ll have to ask Bob. After the riff-heavy rocker, “Widow”, things are taken down a few notches with this beautiful acoustic ballad. While not a fist-pumping rocker, it does build and soar in its own right with a nice string section and tambourine courtesy of Tobias. “Here’s to the wives club, forks and knives club.” (7)
10. Kick Me and Cancel – Essentially borrows the same riff from “I’m a Widow” and adds a proggy break down in the middle. Solid song, but sounds a bit too much like the song that appeared two tracks earlier. (5.5)
11. Other Dogs Remain – Moody atmospheric track that features a creepy bassline and some restrained, hushed vocals from Bob. Picks up a bit but stays on simmer rather than full-on boil. Some cool dramatic strings for some added texture. Missed opportunity by Wes Anderson to include this in his film, Isle of Dogs. “The jury has been corrupted and the victims are one unlucky breed.” (7)
12. Kensington Cradle – I’ll leave this one to Todd Tobias himself – “The one song where we veered off script for an hour or so was ‘Kensington Cradle’ – the runt of the litter. This was an experiment done for a laugh on the Webcor tape machine. I suspect that most listeners to the FaCE album skip over this song. I feel free to say this because I share a writing credit.” (1)
13. Love Is Stronger Than Witchcraft – Centerpiece kind of track. I’ve always thought Bob’s vocals sound a bit like Michael Stipe on this one. This is one of the first Pollard tracks I first connected with. It’s a sprawling pop-prog epic song that borrows from Bob’s love of R.E.M. and Genesis. “That’s the number one reversal. That’s the emptiest place in the circle.” (10)
14. Hammer in Your Eyes – Love the guitar tone on this track. Also, another excellent vocal melody. “Yes. I’m a monster, I’m a slave. You’ll never shake me from your grave.” (8)
15. 50-Year-Old Baby – Another Circus Devils-sounding song. Pollard’s vocals are distorted to the point where you can’t understand what he is singing. Nightmarish synth sounds, whistles and other studio fuckery. Bob channeling his inner-Devo. (2)
16. I Surround You Naked – Similar guitar tone to “Hammer in Your Eyes”. Love the chord progressions and Bob’s vocal performance. Classic Pollard mid-tempo chugger. “I won’t break the costumes out. I won’t hide a smoking gun.” (9)
17. Cock of the Rainbow – Another excellent acoustic ballad with tasteful string additions by Tobias. Bob sounds completely at peace here. Some top-notch dobro work from Pollard. “Know we trust you with our lives.” (8)
18. Conqueror of the Moon – Chainsaw guitars. Spacey synths. Tobias’ best work behind the kit, as well. This a sprawling prog rock epic, Pollard style. Such a great song! “I like the sound of breaking glass…” (10)
19. Blessed in an Open Head – Double-tracked vocals. Bob is singing a little back in the mix while you can hear him with some “La-la-la-la-laaa-la-la’s” underneath. Churning guitars and keys working in perfect synch. “You’ll blow your mind, you won’t get dead. Is blessed in an open head.” (9)
20. A Boy in Motion – A repeated riff and tom gallops turn into some beefier power chords. Song never really gets going though. Very repetitive and same-sound-y. (5)
21. Denied – Starts out as another lo-fi experimental type of track before it starts to work into a good post-punkish boil. Still has that Circus Devils vibe, but this is a better-sounding avant-garde song than some of the others on this album. (6.5)
22. Lightshow – “There are no blanks in this boy’s riffle. Cocked and loaded, fist and fingers white.” Love that line. Can’t say it was Bob’s intention, but I always think of “Powderfinger” and the whole “Raised the rifle to my eye. Never stopped to wonder why. Then I saw black and my face flash in the sky” lines. Bob’s vocal performance here is simply sublime. A gorgeous softer track with some phenomenal, atmospheric synth additions from Todd. Some excellent guitar work by Bob in the middle. Was also another one of my early favorites when I discovered Pollard. (10)
23. I’m a Strong Lion – Short, fun, catchy serving of sunny pop. All sorts of hooks and melody packed into a 1:08 song. “Cuz I’m a strong lion, been tryin’. The Lord likes me that way.” (8)
24. Payment for the Babies – Sounds a bit like an English folk song. Bit of a Led Zeppelin Celtic mysticism thing going on here, too. Definitely a little outside of the typical Pollard wheelhouse, but it works. (6)
25. Kingdom Without – Proggy and creepily atmospheric. Some haunting synth work by Tobias eventually gives way to pounding drums and charging electric guitars. This song has Peter Gabriel’s fingerprints all over it. “Every old man needs a flashlight.” (8.5)
26. Recovering – Bob has done some pretty incredible album closers, but this one is all kinds of special. Starts out with a simply-strummed acoustic track and Bob’s voice sounding strong, but contained. Then those electric guitars and drums come in and this one REALLY gets going. Such a well-sung song. Also, Bob unleashes a remarkable guitar solo to take this one to its conclusion. “Recovering from people to blame, from reveries, from freezing in flame.” (10)

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Unofficial, fan-made music video for "Dancing Girls and Dancing Men"

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Robert Pollard & The Ascended Masters "The Right Thing" live @ Shuba's Tavern 6/22/06

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Official music video for "Love Is Stronger Than Witchcraft"

[chuckrh]

Cortez, sorry if you posted & i missed it but are you going to get into the Tobin Sprout solo stuff, too? There gems on all of those records for sure.

[cortez the killer]

Cortez, sorry if you posted & i missed it but are you going to get into the Tobin Sprout solo stuff, too? There gems on all of those records for sure.

I wasn't planning on it. Then again, I wasn't planning on getting this involved with the Pollard solo stuff, either.

[cortez the killer]

Normal Happiness (2006)

After a slow 2005 which saw Pollard primarily focused on plotting his post-GBV course, Normal Happiness is his second solo album and fifth overall LP of 2006. Returning to Waterloo Sound once again, this is the final all-analog Robert Pollard solo album that Todd Tobias produced. Tobias had used a similar approach on both GBV’s Half Smiles of the Decomposed and From a Compound Eye, which accounts for what he characterizes as a “warm and wooly sound” on those records. Pollard had written over forty songs during the final GBV tour in 2004. Film director Steven Soderbergh approached Bob in 2005 about contributing songs for his upcoming film, Bubble. Bob sent the demos of the songs he has written over the previous year and Soderbergh selected the ones he ultimately decided to use for the movie. The leftover tracks were what Bob drew from to create Normal Happiness. Bob describes the process as follows, “I wrote a total of 47 songs and it just so happened that my favorite ones happened to be the poppier ones and that tone or attitude carried over into the recording process itself. I didn't feel the final product was overly "sappy" so I decided to call it Normal Happiness. Not too heavy and not light.” The finished product is a sixteen-song album that clocks in a just over thirty-four minutes. The songs are lean (only one song cracks the three-minute mark) and range from energetic to melancholic to gloomy. Whereas Pollard’s first Merge solo album was a dense, prog-influenced double album, Normal Happiness is a far breezier affair that cuts the listening time in half. It is a solid Pollard record, but it comes off a bit as a safe album from an artist known for taking chances and a having a knack for deconstructing tradition pop songs and adding his own eccentric twists. That approach is largely absent on Normal Happiness.


1. Accidental Texas Who – Song originally appeared in demo form as “Cowboy Zoo” by The Accidental Texas Who on Suitcase 2: American Superdream Wow. Pollard adopts multiple singing styles on a song that clocks in at 1:37. Music arrangement is straightforward, mid-tempo power pop. Solid opening track. (7)
2. Whispering Whip – Dizzying guitar arrangement in the beginning gives way to another short, perky pop song with splashes of new wave. Tobias adds a few spacey synth accents. Song breezes by at a brisk 1:16. Some odd, “Submarine Teams”-like noises tacked on at the end. (6)
3. Supernatural Car Lover – Served as the unofficial lead single for the album, with mp3s showing up across the internet on various music blogs. Another peppy power pop track that is an instant classic. An all-time, Top-20 Pollard track for me. This is an example of power pop with the perfect balance of sweet and thump. Fans of the dBs will find lots to love about this one. “California, too…” (11)
4. Boxing About – The sunny vibe continues with this airy pop song. Pollard ironically called his band The Soft Rock Renegades on Choreographed War of Man. This is exactly the type of song you would expect from a band with that name. Such sweet creamy breeziness. “Whore memories have taken the vaccinations from your box.” (7)
5. Serious Bird Woman – Bob loses me a bit here. Vocals are a bit echo-y and slightly off key. According to Tobias, “For some reason I had Bob stand across the room from the microphone when he sang this one. That’s what accounts for the odd vocal sound.” Has a very schmaltzy feel to it as well. Tobias pounding away at the keys and adding all kinds of studio accents. (3)
6. Get a Face Full – The directions one can go with a title like this…. Pollard crafts another 90s-styled indie rock song that sounds nothing like the indie rock he made with his former band. So catchy and easy to digest. “Get a facefull – wear it with pride.” (7)
7. Towers and Landslides – A bit heavier that the most of the lighter songs that populate this album. Guitars have a bit more of that cold, post-punk bite to them. Production brings a bit of a slowed-down effect to the arrangement. Fidelity lines up more with what one has come to expect from Pollard. “The path of least resistance is lost and I go pushing, thrashing, waging a one-man war.” (7.5)
8. I Feel Gone Again – Shortest track on the record, clocking in at 1:14, has Pollard going back to the acoustic ballad that musters up enough energy to work into that mid-tempo range. Really well-done snippet song. (7)
9. Gasoline Ragtime – I suppose this is Bob’s version of a ragtime song. Some interesting synth sounds added by Tobias. Has a bit of a cheesy 80s rock vibe to it. Not only do we get some sax, we get a whistling outro, too. (4)
10. Rhoda Rhoda – A return to more familiar territory. Guitars ring and roar like those classic-sounding GBV guitars. Bob playing up the British accent and really hitting those high notes. “We need a safe place to bleed, it’s what you told me.” (8)
11. Give Up the Grape – Bob’s vocal delivery goes from sounding constipated to that Circus Devils-styled menace to hitting some of the upper levels of his range. To say it’s all over the place, would be an understatement. Ends abruptly and the next tracks kicks right in. (3)
12. Pegasus Glue Factory – A+ title and an equally strong song to boot. Love the way this one lurches along. Another hammed-up British accent that hits the spot. Tobias’ spacey synth washes perfectly accent this track. The menacing outro is an added bonus. “Orville’s fucking nightmare: The dead career update.” (10)
13. Top of My Game – Pollard singing in a very earnest manner on this acoustic ballad. Another song that moves into that soft rock territory several of the tracks on the album feature. This one doesn’t leave much of an impression, either way. (5)
14. Tomorrow Will Not Be Another Day – Shades of early R.E.M. Actually reminds me a lot of the type of songs Bob started out with on the debut EP, Forever Since Breakfast. Has some great swing to it and one of the catchier songs on the record. “Something better for you, something better for me to bringing us strong drinks and cheap gas.” (9)
15. Join the Eagles – Bob really commits to the soft rock on this sleepy track. It’s not a terrible song, it’s just not the type of arrangement that draws me to Bob or any of his associated projects. Curiously, the second longest track on the record, coming in a just under three minutes. (4)
16. Full Sun (Dig the Slowness) – The final song goes through a variety of stylistic and tempo shifts. In a way, it features many of the styles featured throughout the album, making it feel a bit like medley-type summation of the album. Todd going a little overboard with the synths during the outro. (6)

[cortez the killer]

"The Accidental Texas Who" live in Dayton, Ohio 11-11-2006

[artdent]

As a long time 3DD lurker and huge GBV fan, I just created an account to comment on what an incredible thread this is. I'm way behind in reading thru the posts but keep up the good work please!

[cortez the killer]

As a long time 3DD lurker and huge GBV fan, I just created an account to comment on what an incredible thread this is. I'm way behind in reading thru the posts but keep up the good work please!

Thanks, artdent! Appreciate it. Glad you are digging.

[cortez the killer]

Standard Gargoyle Decisions (2007)

The original plan for Standard Gargoyle Decisions was for it to be a 33-track double album. That idea was shit-canned and Pollard decided instead to split up the thirty-three songs and release two separate albums on the same day, with the additional one titled Coast to Coast Carpet of Love. The determinations on which tracks to keep for Standard Gargoyle Decisions and which ones to move to Coast to Coast were based on the distinct stylistic differences of the tracks. SGD is comprised of mostly psychedelic hard rock songs that share a similar spirit to the Pollard/Tobias side project Circus Devils, while the hookier, more 60s British Invasion-inspired tracks found a home on CtCCoL. In its press release for the album, Merge states:

Robert Pollard explores the punkier, "Stones" side of his musical personality here. In the universe where Bob explains the Freudian divisions of his psyche, he calls Coast to Coast Carpet of Love his id; Standard Gargoyle Decisions his ego' and himself his Super Ego.

Todd Tobias was back again to produce and provide all the instrumentation for the project. He recently reflected back on the recording process:

I remember Bob handing over a big collection of demos for what was then planned to be the big, crazily ambitious double album to follow up Normal Happiness. This was an exciting group of songs, but as an album, I noticed the mood was schizophrenic. In one camp were the friendly songs and in the other camp, the more challenging, playfully eccentric and darker songs. The line between the two groups was easily drawn, without much overlap. As I began what would be a two-month long recording session (my longest ever), I kept thinking: “This should be two separate albums.” While I appreciated Bob’s artistic ambition, my thoughts were with the listeners. How could you go from “Miles Under the Skin” to “Butcher Man” without feeling jarred?

I had even made plans to record the songs in two separate blocks of time – one block for the friendly songs and another block for the not-so-friendly songs. Still, I wasn’t comfortable about confronting Bob with my idea to split the double album in two. When it came to these decisions, it wasn’t my place to put my nose in. In the end Bob went on to split the project in two without getting any advice from me, which came as a relief.

Pollard was back to a flooding-the-market mentality in 2007. In addition to SGD and CtCCoL, he released a solo EP (Silverfish Trivia), an Acid Ranch album (The Great Houdini Wasn’t So Great), a compilation (Crickets: Best of the Fading Captain Series 1999-2007), an LP from side project The Takeovers (Bad Football), and a Circus Devils double album (Sgt. Disco). For many critics, Pollard fatigue was in full swing which played a role in SGD received a lukewarm reception. It’s a bit of a challenging album and there are just too many Pollard projects and songs to digest. However, Bob was in the midst of a post-GBV creative explosion and had no plans on slowing down for anyone.

1. The Killers – Song originally made its debut the previous year on the Pollard side project Psycho and the Birds record All That Is Holy. The version that shows up here is more fleshed out and rocks much harder. Tobias essentially gives it the Circus Devils treatment. The punk and psych aspects of the 4 Ps approach front and center here. “I love, love love, love, love the killers…” (7.5)
2. Pill Gone Girl – Starts out as a glammy mess before those big, beefy guitars that bring to mind The Stones’ Keith Richards and Faces’ Ron Wood come in. Veers off into some proggy territory with some power chords worked into the proceedings. “It flabbergasts the soul. Brother, I fall in my hole alone.” (7)
3. Hero Blows the Revolution – Bob dials up the ominous prog on this track. A variety of tempo and chord shifts, along with some quiet/loud juxtaposition. “Drive through the fire in a paper tank, with a mind of water.” (7)
4. Psycho-Interia – A brash, distorted psych-punk stomper. Guitars have a bit of a glam rock tone to them. Song completely falls apart in the end with Tobias doing that evil jack-in-box has sprung kind of thing. (6)
5. Shadow Port – Begins with a nice crunchy stomp. Tobias’ key additions are very complimentary to this track. Proggy, but without some of the more heavy gloom of some of the other tracks. Let’s call it “prog light”. This song would’ve worked on Coast to Coast Carpet of Love, too. “She has wings. Are you watching her?” (8.5)
6. Lay Me Down – A really nice acoustic intro that abruptly transforms into a bit of a schizophrenic listen. Heavy Circus Devils vibe. (4)
7. Butcher Man – Lo-fi intro with constipated Bob straining out the lyrics. Morphs into another pysch-punk stomper. The song features an incredible number of tempo and stylistic shifts for one that clocks in at 1:46. (3)
8. Motion Sickness Ghosts – Opens with what I imagine the work bell in hell sounds like. Those big, beefy guitars give it some good punch. Spacey synths make an appearance. There aren’t many open spaces in this densely-packed song that combines elements of 70s arena rock with psych and prog. “It's all wrinkled up.” (7.5)
9. I in the World – Bit of that 'Swinging London' Kinks feel to this track. Bob’s vocals are distorted and the production has that needle-in-the-red sound. Neat spacey organ part in the middle. “I gave up my home. No, never was I happy in her.” (6)
10. Here Comes Garcia – Sounds too much like a song that couldn’t find a home on a Circus Devils album. My least favorite track on the LP. (2)
11. The Island Lobby – That opening guitar part possesses a forbidding quality. You are then reassured via the synth washes and string arrangement that all is well. We get some more soft rock before the song takes another turn back toward the darkness, deciding to become something of a mini, haunting prog opera. (6)
12. Folded Claws – Love that guitar intro. Dare I say, has a bit of that hazy, weary vibe of Neil Young’s “Albuquerque”. Builds perfectly from there. We get a brief, but excellent, guitar solo! Apparently, this was a leftover from the Normal Happiness record. Tobias provides some great clarity on the track – “Even before the double album idea was dropped, I decided to record the songs in two separate groups, with each group getting a different treatment. My dividing line pretty much reflected Bob’s when it came time to split the double album in two, with just a couple of exceptions ("Folded Claws" and "Penumbra"). “Penumbra” was recorded along with what would become the Standard Gargoyle set. And “Folded Claws” was bunched in with the set of friendly songs. When I think of “Folded Claws” as part of Standard Gargoyle Decisions and “Penumbra” appearing on Coast to Coast Carpet of Love, I think of the Chinese symbol for Yin and Yang, where you see the two opposing halves – one dark and one light, but within each half is a small piece of its opposite. Maybe this was Bob’s way of reminding us that these two albums were once a single creature before it was broken in two.” Be careful! This one will sneak up on you, big time. “High praise to backlash, heal my head! So scream the masses, heal my head!” (10)
13. Feel Not Crushed – Huge rocker with splashes of prog to keep it real. Love the guitar tones on this one. Ronnie Wood is uber jealous. Shades of Universal Truths and Cycles “Skin Parade” in there. This one has perfect pacing and transforms into a rocking, fist-pumping anthem. Late in the album, Pollard drops back-to-back knockout punches. “And feel not crushed by fathers and mothers, or those who hand it down.” (10)
14. Accusations – Bob’s got something cookin’ here. Comes off as sounding more like an unfinished demo than a fully-fleshed song. It’s a solid track, but I feel like it has anthem potential. That guitar riff is so intoxicatingly sinister. “Dead I ain’t, little girl. But last night I was alone.” (7)
15. Don’t Trust Anybody – Bob’s plea to save the planet. Wraps the message in an eerie, haunting cloak of Circus Devils mystery. “As icebergs are melting, icebergs are, but cold hearts aren’t.” (6)
16. Come Here Beautiful – Lo-fi acoustic track that features a (wrinkled) ghost howling in the background. Has that old school GBV aesthetic to it. Bob bringing the spook. “To perform, the mannequin must try very hard to move.” (7)
17. Spider Eyes – Opens with the theme from the evil circus. Transforms into a super-charged punk song. Its sound would fit right in on Circus Devils’ The Harold Pig Memorial. Pollard closes the album with a reminder of the prevailing dark, more challenging mood of the album. (6)

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Unofficial, fan-made music video for "The Killers"

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Unofficial, fan-made music video for "Shadow Port" featuring Pollard's collages.

[cortez the killer]

Coast to Coast Carpet of Love (2007)

As the previous write-up notes, released on the same day, Coast to Coast Carpet of Love is the ‘Ying’ to Standard Gargoyle Decisions ‘Yang’. The Merge press release for the album reads as follows:

Robert Pollard explores the poppier, "Beatles" side of his musical personality here. In the universe where Bob explains the Freudian divisions of his psyche, he calls Coast to Coast Carpet of Love his id; Standard Gargoyle Decisions his ego' and himself his Super Ego.

This record leans heavy into the pop aspect of the 4 Ps, with Pollard’s trademark melodies front and center. If you are a fan of power pop, this is the Pollard album for you. Normal Happiness has a similar vibe as Coast to Coast, with the highs of that record (“Supernatural Car Lover” and “Pegasus Glue Factory”) surpassing the highs on this one ("Rud Fins" and "Miles Under the Skin"). However, overall, Coast to Coast is the stronger, more consistent record of the two. If you consider SGD the first of these two, CtCCoL represents the fourth, and final, Pollard LP released on Merge. When you really think about the sheer volume of material Bob was releasing at the time, it is incredible to fathom there was enough left over to craft this collection of pop nuggets. Somewhat understandably, this didn’t generate a ton of buzz or interest upon its release, but it is a very strong record that benefits well from hindsight, and a little breathing room.

1. Our Gaze – The record kicks off strongly with this excellent, punchy power pop song. Some fantastic guitar and drums from Todd Tobias. Hooks and pumping fists everywhere. “’Cus chances you have promised me my lonely friend. Your chances are now worthless, you cannot pretend.” (9)
2. Count Us In – The minor chord opening gives this more of a gloomy vibe that makes you think perhaps it would’ve been a better fit on Standard Gargoyle Decisions. After a very proggy bridge, the song rises from the smoke, incorporates some hooks and melody and reassures you in made it onto the proper album. “We are humping the fire wagon for a finger in a glass of water.” (7.5)
3. Exactly What Words Mean – Shortest track on the record, clocking in a just under a minute and ½, is an acoustic ballad with Bob somewhat slurring the words. Makes a small attempt to soar, but retreats back before it leaves the ground. (5)
4. Current Desperation (Angels Speak of Nothing) – Bob settles back into creamy pop mode on this tight pop song, anchored by some excellent stop-and-start guitar. Those key accents underneath it all add rich depth to the sound. Such an underrated track. “Robbers take new graves sites – Take mine!” (8.5)
5. Dumb Lady – When this song begins, I always think it’s “Fine to See You” from 2001’s Isolation Drills. It transitions to the acoustic part and I realize it’s “Dumb Lady”. Some interesting noodling from Tobias. The key arrangement definitely brings an airier feel to the track. “Cocaine crapshoots… Our love, need I say, was tested.” (7)
6. Rud Fins – This earworm works its way in with great ease. Such a fuzzy power pop firecracker. Lyrics reference the “Captain Hudson Rake” which would later resurface as a song on 2018’s Space Gun called “Hudson Rake”. This maintains the sweet, but leans a little heavier to the power part of the equation. Love how Bob really belts out the vocals during the outro. The song buries you in hooks. “Don’t rake your brain cells, Harold. It’s just a theory to be held.” (10)
7. Customer’s Throat – More stop-and-start guitar dynamics from Tobias. Another excellent Pollard vocal melody. A dash of prog during the bridge to break up the creamy sweetness. Just a really nice track. “Endless summers, feel them over…” (9)
8. Miles Under the Skin – Such an effortless, breezy song. Perfect soundtrack for a gorgeous late-spring day. You can feel the warm sun, the light breeze and smell that freshly cut grass. Another filled-to-the-gills hook-a-thon. “And when I stare at the floor, I do it convincingly.” (11)
9. Penumbra – Starts out as a bouncy song. Takes a chilling turn with some Tobias Circus Devils-esque studio atmospherics. As I mentioned previously in the SGD write-up, Tobias originally earmarked this song for that project, but Bob wanted to keep things interesting and decided to bring a little darkness to the pop party. (6)
10. Slow Hamilton – On an album filled with them, it might be Bob’s best vocal performance. Picks up some steam in the middle part, then returns to the same light, airy sweet zone it began with. This song definitely explores more of a soft rock zone, but it does it so well. It might be the prettiest song in the entire Pollard catalog. “Show me around your lonely room, tipsy and comb my head.” (10)
11. Look Is What You Have – This isn’t a bad song. It just doesn’t do much to distinguish itself from some of the higher-quality songs it rubs up against. Lacks some of those hooks and vocal melody that the others here display so prominently. (5)
12. I Clap for Strangers – High-energy, bouncy song that sounds like an outtake from Do the Collapse. The production on this one is a bit heavier than some of the others on this record, but it doesn’t ruin it. “Bright and fun and full of shit, seeks philosophies that fit.” (8)
13. Life of a Wife – The pacing and style of the first part of the song reminds me a bit of the Oompa Loompa song in Willie Wonka and the Chocolate Factory. We get a brief, semi-majestic guitar part before the song whimpers off quietly. (6)
14. Youth Leagues – Bit of a cheesy 80s rock kind of vibe to this one. Bob’s vocals are distorted to start with. Hits that keyboard bridge and subtly transforms itself into something else entirely. Freed from the distortion treatment, Bob delivers more fantastic melodic vocals. I really disliked this song initially, but I’ve grown to appreciate it a bit more. “Red streamers run where boys still fight with their might.” (6)
15. When We Were Slaves – Acoustic ballad that, as much as I hate to say it, reminds me a bit of Poison’s “Every Rose Has Its Thorn”. Those synth additions later in the song don’t help dispel those not-so-cool 80s memories. (4)
16. Nicely Now – Pollard expertly mines that Something Else-era Kinks perfection. Love the piano and acoustic guitar here. Song sounds like it’s about to fade out and we get that outstanding hummed outro. (8)

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"Our Gaze" Live @ Southgate House, Newport, KY 12/01/07

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"Customer's Throat" Live @ Southgate House, Newport, KY 12/01/07

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Hot Freaks

Record stores may be temporarily closed and live shows may be on hold, but you can keep up with Guided By Voices by joining HOT FREAKS.

Every Tuesday, a weekly email will deliver sneak previews of brand new songs, plus rarities, never-before-heard tracks, demos, live concert recordings, rare photos and videos, recording secrets, exclusive swag offers, and many more surprises from deep within the Guided By Voices vaults.

A HOT FREAKS subscription is $100 for one year for exclusive access to downloads and streaming content (with easy-to-use apps for phones or computer).

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Superman Was a Rocker (2008)

First solo album released on Pollard’s new, self-owned label, Happy Jack Rock Records. The LP was billed as a return to his Guided By Voices roots, with appearances from past band members Tobin Sprout, Mitch Mitchell, Kevin Fennell, Doug Gillard and Nate Farley. Bob found some old instrumental recordings in his vault, dating as far back as 1980 and spanning twenty-five years, which he’d never completed or previously released. For this thirteen-song, thirty-minute “mini album”, Pollard went back into the studio and dubbed vocals over the original recordings. The connection to the classic GBV lineup had fans eagerly awaiting these lost recordings. However, those people who thought they might be getting something like Propeller, Vampire on Titus or Bee Thousand were in for a bit of a surprise. This is a very lo-fi record that is a challenging listening. It lines up much more with Bob’s ever-growing Suitcase releases and, with the exception of the excellent “Love Your Spaceman”, serves more as a historic artifact recommended for hardcore Pollard/GBV fans only. The great Warhol-inspired cover art was designed by a member of the GBV fan message board (Disarm the Settlers), David Crunelle.

1. Another Man’s Blood – Crude, buzzing basement rocker with distorted, echo-y Pollard vocals. Get an acoustic “Bron-Y-Aur-Stomp”-y jam session during the outro. The potential for a produced, well-fleshed out track is there. (3)
2. Go Down First – DJ intro that reminds me a bit of the DJ announcement at the end on the Beastie Boys’ “B-Boy Bouillabaisee: Mike on the Mike” kicks off this primitive garage rocker. Fidelity can’t get much lower. (3)
3. Back to the Farm – Real radio interview from the 90s with Mitch Mitchell and Kevin Fennell on WYSO-FM. Caller Hiram Campbell form Northridge, OH calls in to rip the “Turds of Rock.” Hiram is Pollard adopting a thick hick accent and channeling his inner Jerky Boys. After some back and forth, the instrumental version of the upcoming “Love Your Spaceman” plays. Brings some comedic relief to the record. (5)
4. Substitute Heaven – “Hey Nashville – You feel like lettin’ your freak flag fly?” Another ramshackle, rough recording with all kinds of noises going on. I like the guitar riff in there and feel like it is from a GBV song that, for the life of me, I cannot recall. (3)
5. Prince Alphabet – Interesting track that includes a sample of “A Day in the Life.” It sounds like the heat or water absolutely destroyed much of the recording. Wobbles to the finish before it completely cuts out. (1)
6. You Drove the Snake Crazy – Maracas! Handclaps! The circus is back in town! Sounds like a drunken, crudely-recorded kitchen jam not unlike the ones in the excellent Guy Clark/Townes Van Zandt-associated documentary, Heartworn Highways. (4)
7. Surveillance – Sounds like a backward-looped “Man Called Aerodynamics” playing in the background with Pollard adding some vocals over the top of it. The outro includes some birds chirping, too. (4)
8. Fascination Attempt – DJ screws up Bob’s name – “wrapped up in Robert Pollardy’s” before cutting to something like “sounds from the studio” off Todd Rundgren’s Something/Anything?. It’s a twenty-six second snippet.
9. Love Your Spaceman – Ahhh! Almost worth sitting though some of the previous glop. Fantastic song co-written with former GBV drummer, Kevin March. Except, Kevin doesn’t play drums here, opting instead to man the guitar. It’s like that pretty girl who hangs out with obviously homely girls to make herself look even better. Either way, this one goes down so smoothly and is an instant Pollard classic. “The grass is always greener, but the space is always cleaner when it's yours.” (10)
10. Jumping – Sounds like an outtake from one of those early period GBV records – Devil Between My Toes, Sandbox, Self-Inflicted Aerial Nostalgia or Same Place the Fly Got Smashed. Song features some frantically-played acoustic guitar with some double-tracked Pollard vocals. (4)
11. St. Leroy – Another song that brings that early GBV period to mind. Less crude and more like a lo-fi demo. Some really well-strummed acoustic guitar and unaltered Pollard vocals. (4)
12. Peacock – “You know, well-behaved women rarely make history.” We’re back to that abrasive, drunken sing-a-long mode as some of the early tracks. Comes off as one of those “you had to be there” moments. (1)
13. More Hot Dogs Please – The DJ returns with a flubbed announcement that he is afforded a second chance to fix. “Are you still there? It’s almost check-out time…” Even the DJ knows this isn’t easy. We head back to the basement for this rough-around-the-edges “well song” that actually has its charms. Bob sounds possessed as he screams out those lyrics from the well. (4)

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Unofficial, fan-made music video for "Love Your Spaceman"

[artdent]

You are so right about Miles Under The Skin. One of my all time favorite Pollard solo entries. I've always had a hard time getting into the rest of Coast to Coast though. For me, Normal Happiness thru Superman is kind of a slog, but things pick up big time with Off to Business.

Hot Freaks subscription secured this morning. Excited to see what that's all about....

[chuckrh]

You are so right about Miles Under The Skin. One of my all time favorite Pollard solo entries. I've always had a hard time getting into the rest of Coast to Coast though. For me, Normal Happiness thru Superman is kind of a slog, but things pick up big time with Off to Business.

Hot Freaks subscription secured this morning. Excited to see what that's all about....

The price was too steep for me on Hot Freaks. It's not like I don't have plenty of GBV to listen to anyway, haha.

[artdent]

The price was too steep for me on Hot Freaks. It's not like I don't have plenty of GBV to listen to anyway, haha.

Oh, I totally get you. There is so much suitcase stuff in my library I haven't spent enough time with and don't really know at all. But 8 1/2 bucks a month seems reasonable if there are a good amount of downloads. Hoping for some outtakes or alternate takes with the current lineup.

[chuckrh]

[/quote]

Oh, I totally get you. There is so much suitcase stuff in my library I haven't spent enough time with and don't really know at all. But 8 1/2 bucks a month seems reasonable if there are a good amount of downloads. Hoping for some outtakes or alternate takes with the current lineup.[/quote]


I retired last summer on disability so I really try to keep the monthly charges down wherever I can. They add up quick. Trying to be smart in my decrepitude, haha.

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Robert Pollard is Off to Business (2008)

On the first full-length album released on the new Guided By Voices Inc. label, Pollard almost brought the GBV moniker out of retirement. "I was at one point toying with using the name again.... But then I thought it might be construed as I’m trying to capitalize on the name to sell more records -- and I didn’t want it to appear that way. My manager decided, 'Why don't we call that the label -- Guided By Voices Inc.?'" Instead of calling it a GBV album and recruiting a new crew of supporting musicians, Pollard returned to the familiar process of writing a batch of new songs, recording the demos onto his boombox and sending them over for Todd Tobias to record the instrumental parts. Once the instrumentals were complete, Bob would come into Waterloo Studio and dub over the vocals. Robert Pollard is Off to Business is a tight, ten-song rock record, professionally produced by Tobias. Most of the tracks hover around the three minute mark and adhere to a more conventional song structure. Pollard’s British Invasion/Arena Rock influences are more straightforward here, with hints of prog to give added color and shape to a few of the songs. From a production standpoint, this is one of Tobias’ finest jobs. It’s a rich, lush-sounding album that I would recommend for diehards and newcomers alike.

1. The Original Heart – The herky-jerky, fractured arrangement brings to mind Led Zeppelin’s “The Song Remains the Same.” Todd Tobias is no John Henry Bonham, but the comparison works on its most basic level. This opener makes it clear that this is a very different record than Superman Was a Rocker. “More information is making me dead. Nail points of contact to drive through my head.” (9)
2. The Blondes – Beautiful acoustic track that channels the softer, melancholic side of Big Star. Those subtle string arrangements really elevate this song to elite status. Bob’s finest vocal performance on the record. And while this one is a bit slower, there are a number of hooks to be found. “For we arrive, content like pioneers, like royal women, dead but still alive.” (10)
3. 1 Years Old – This up-tempo, sub-two-minute rocker stays true to that classic GBV sound. The fidelity may be on the high side, but those guitars still buzz. (7)
4. Gratification to Concrete – Robert Pollard comes alive! Tobias goes all Peter Frampton on us with that wah-wah guitar. Big, crunchy arena rocker that shares a similar spirit to It’s Hard-era Who. A song for the riff fanatics. “Live like kings and queens tomorrow. It's a blast it just won't last too long.” (8)
5. No One But I – The upbeat mood on this record comes to a halt here. What starts as a sparsely plucked, ominous acoustic track blossoms into a prog-tinged rocker. Tobias doing his best Keith Moon impersonation to win over Bob. I imagine this one smokes live. (6)
6. Weatherman and Skin Goddess – This song has it all. It’s light and breezy. It’s bouncy. It has a splashes of prog. There are stunning Pollard vocal melodies and soaring choruses, with hooks all over the place. Those multi-tracked vocal parts during the outro are so fucking good. Proof positive that Bob can stretch out a song to 5:22 and still kill it. “She's like cool skin hands, oily and hides away from the furniture's cat. Says the king would like to greet you, in his 1950's hat.” (10)
7. Confessions of a Teenage Jerk-Off – Other than the clever title, I can’t say I like much about this acoustic track. It's a bit of an energy vampire. (4)
8. To the Path! – Opens in dramatic fashion with those pulsing synths and keyboards. Pollard’s love for Peter Gabriel-era Genesis on full display. Tobias’ production really breathes life into this prog epic. Songs rocks hard as it hits the ascending conclusion. “Hard running rabbit through conscience may survive.” (8.5)
9. Western Centipede – Opening sounds like that signature riff from the U2 classic “I Will Follow”. Makes repeated appearances throughout the track. From there, it transforms into a fist-pumping, propulsive GBV-styled rocker. Tobias getting AFTER it on those drums. “If you hit the ground, you die…” (7)
10. Wealth and Hell-Being – Clever switch of the ‘W’ and ‘H’ in the title. Slow, deliberate Crazy Horse-styled pace to this rocker. Tobias’ drumming skills have come a long way. Lyrics include a reference to the Alien Lanes classic “As We Go Up, We Go Down.” Song eventually falls apart and gives way to some spacey synth drone. (7)

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The Boston Spaceships in Cleveland at The Grog Shop, 9-26-08 performing "Weatherman and Skin Goddess"

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You are so right about Miles Under The Skin. One of my all time favorite Pollard solo entries. I've always had a hard time getting into the rest of Coast to Coast though. For me, Normal Happiness thru Superman is kind of a slog, but things pick up big time with Off to Business.

Hot Freaks subscription secured this morning. Excited to see what that's all about....

Miles is such a great song. Coast to Coast is sneaky good. You might wanna revisit it. Our Gaze, Rud Fins, Customer's Throat and Slow Hamilton (so creamy) are top tier Pollard tracks. Even that next tier of songs are very good. Underrated album.

[artdent]

Coast to Coast is sneaky good. You might wanna revisit it.

I've a feeling I will be revisiting quite a few albums now...

Spent the last few weeks on a Circus Devils deep dive. More jems in there than I remembered.