THE CLUB IS OPEN... An Introduction

WELCOME to An Earful 'O Wax, the Guided by Voices/Robert Pollard; Song Documentation Database. Here, I attempt to provide a write-up accompanied by a numerical review (for what it's worth) of every song written, performed, or related to one of rock's most prolific songwriters; Robert Pollard.

If you have found yourself on this site, you probably know a bit of the story and history of the Dayton, OH band. If not, welcome! May this be your newest haven for a crash-course in the subject, and hopefully this can aid in your quest for the perfect mix tape.

This idea to delve into this project came to be in early 2012 while talking with a friend about the intricacies of the myriad of Guided by Voices/Robert Pollard LPs, EPs, side-projects, box-sets, 7'' singles, official bootlegs, and compilation tracks. I know as a true GBV fanatic, this conversation happens often. So I decided it was time to make my madness somewhat concrete!

The original sole purpose came about when I decided to try to log a rating to some of the more obscure Pollard related songs in my library for my own reference. How could I forget how good "I Am Decided" was off the top of my head? How was it that the closer, "Blue Shadow," off Pollard's side-project Keene Brothers' LP escaped my memory when thinking about the breadth of the catalog? Official documentation began to accumulate over a few months, and only grew from there. Once the wheels started turning, I found it increasingly difficult to operate the brakes. The determination to review every Robert Pollard related song was in full swing, scribbled in notebooks and sporadically typed out.

What presents itself on this site is just that; my quest to track down, consume (multiple times), and review (if only briefly), every song that came out of Dayton, OH's pop-psych mastermind, Robert Pollard. It's been a rough and bumpy road over many beers, research, and late night phone calls to friends on the matter.


SO, how do you read this and what is it? 
First off, every Robert Pollard related band/solo outing/side-project is divided into headers at the top of the page for quick reference.

The set-up of the free blogger.com space does not provide for ample scroll-down-and-enjoy reading. I encourage all to click on the links above to track down each LP, EP, 7", and compilation to find said song, or to simply browse the nature of each beast.

Also, each LP is accompanied by a brief to somewhat-extended introduction into the release, garnished with facts and opinions. Treat them  as a short review. Treat them as garbage. Do as you will.

What is included?
Any and all Robert Pollard related material is included for mention and review on this site. That is, every Guided by Voices, Pollard solo outing, Pollard solo collaborations, or side-project. Several side-project bands are listed above in the same tab due to restrictions here, not importance, or lack thereof.

There are still plenty of off-shoots of the Pollard/GBV family tree; Tobin Sprout solo material, Doug Gillard solo LPs, Death of Samantha, Cobra Verde, fig. 4, Terrifying Experience, etc. While many of those releases are definitely worth tracking down, (especially Tobin Sprout's frequent and brilliant outings) I have not obtained all at this time.

Also, not EVERY single record is listed on this site. Some singles and box sets simply contained songs that had previously been released. I included each record, in which each song made its earliest appearance. If you'd like a complete discography of everything GBV related, check HERE.

In addition, there are a plethora of bootleg releases with alternate titles to track that were eventually released on the Suitcase box-sets. Also, there are seemingly endless unreleased instrumental outtakes, alternate bootleg takes, internet released demos, and unreleased live cover songs that have not been included. In time, they might see the light of day. Such is the case with Pollard's TWO "comedy" LPs of spoken word, Relaxation of the Asshole and Meet the King: Asshole 2. I've got 'em, just don't know where they fit in this puzzle, but maybe one day.

Additionally, as long as I breathe and maintain functional hearing, new releases will continue to be updated in the future. Please check back.


In addition, THE RATING SYSTEM:
The ratings assigned numerically differs, in context, for each band.

It should go without saying, but a Guided by Voices perfect song rating does not always reflect the same as, say, a great Circus Devils song, decent Acid Ranch, etc. Two different recipes, two different results.

Also, it's a 1 to 5 system. Don't have a stroke that something didn't get 10.


And finally, LET IT BE KNOWN!:
It should go without saying that I am a fan. Not to dive too deep into the sappy end of the pool, Robert Pollard has been an even more enormous influence on me than I can really every say. Who else would do such an arguably stupid thing if not a fan? Nevertheless, what lies ahead may offend, enlighten, educate and shock some as I have given reviews to songs that some hold deep in the ribcage; wedding songs, the break-up tune, the perfect song for a funeral, your favorite drinking singalong melody, etc. So please know that every bad review still comes from a place that still gives even the slightest wink of admiration, and I mean no offense to the fellow listener in the following reviews of everything, and encourage an open discussion about said topics. Such is the way of the world, and shouldn't need mentioning. But it bares repeating when dealing with something as sacred to so many.

May Pollard continue to write, record, release. The army of the shambolic have spoken and, sorry mainstream press, he does NOT need an editor. What we want is what we get, and so forth.  And for the casual, or beginner, may this be both a guide and valuable lesson.  As Pollard has said, he relies on his Four "P's"; pop, punk, psych, and prog (which will be referenced throughout the site), in his song writing. May the best of those styles continue to rain down, for better or worse. One man's "Gold Star For Robot Boy" is another man's "I Can't Freeze Anymore" and vice versa. But hopefully you get the picture.  Read on, enjoy, and detest if you must. But remember, "Life is short, GBV is long."*





Additional thanks to the project goes to the following:  Jeff at Guided by Voices Database (www.gbvdb.com), for his his helpful correspondence and for his stellar website of meticulous fanboy info. Kevin Oliver, for guiding me through a cerebral discussion of Suitcase 2 and its inconsistencies back in the day. Fid, for his enthusiasm, tri-state brotherly support, and providing me with a couple of hard-to-find GBV releases on loan while I was dead broke. Christopher Thomas Brown for talking GBV with me at length and for kind of kick starting this whole idea. And to K. Gogan, my best friend for encouraging me to finish and for helping edit a portion of this mess.

*- gbv

**all photos taken from the fabulous world of google search. If you have a problem with a photo being up here, say the word and I'll take it down. I honestly don't know how to credit you!

***background collage by Robert Pollard, entitled "Brought To You by Real Nice Scientist" 

La La Land (2023)

 La La Land

(2023, Guided by Voices Inc.)

With the arrival of the new year, so comes a new Guided by Voices record!
 
Much in the same vein as Tremblers and Goggles by Rank, comes the oddly named “La La Land.” I saw GBV around the time Tremblers… came out, to which Pollard announced the title (which had also been circulating around the internet), and explained it was inspired by an old “bully” of sorts in the Dayton area who’d tell people he’d knock them into “la la land.” Whatever the case, this certainly didn’t stop a rash of short lived blurbs relating this to some sort of nod to the 2017 Oscar contender of same name.
 
All Gosling/Stone press aside, La La Land is the natural companion piece (as also stated in the press releases) to Tremblers... in almost every way: shorter track list than usual (11), longer song forms (another 6 minute outing!), heavy emphasis on multiple musical sections per song, and experimentation with audio trickery not always synonymous with GBV. All boxes are checked, and for the most part it works, perhaps better on one side of the LP than the other.
 
The reformed lineup (which at this point is consistently the longest and strongest formation of the band), continues to crank them out with engineering mastermind Travis Harrison. At this point, it feels like anything is possible with this band, and after 14 studio albums dating back to 2017 could you even argue that statement? For better (or worse for the easily fatigued), that seems to be true. While not an overall immediate impact record as some, there are a smattering of gems in this field of prog risks, pop sincerity, and bold ideas. 
 

SIDE A:
Another Day To Heal- 1 I recall reading a quote someone posted after talking to guitarist Bobby Bare Jr. where he said "just wait to you hear La La Land!" While I am paraphrasing a second-hand quote, high standards for this record were already in motion. So upon hearing the opening track, I was rather confounded. Along with "Made Man," off Earthman Blues, I still scratch my head as to why this was chosen as an opener. It's a direct but extremely middle-of-the-road guitar driven track with little to write home about. For some odd reason, Pollard's vocals are not only way up in the mix, but slightly out of tune most of the track, having the feel of a one-and-done vocal take (not necessarily for the better). The best part of this is the essential fade out into the glorious... 
 
Released Into Dementia- 5 Speaking of vocals, has Pollard ever sounded better!? Talk about a wild juxtaposition, but Bob sounds like he's singing for the angels on this gorgeous track. Solidified by a sturdy acoustic backbone, this one crunches but remains consistently airy while never losing its heaviness. The melancholy, Beatles-esque "organ" part at 1:25 is to die for, followed by a Doug Gillard riff that consistently leaves my speakers smoking. A real open-your-arms-and-embrace life celebration, "Released Into Dementia," is the type of track that makes you thankful you have not only found out about Guided by Voices, but that you've made them your favorite band. 

Ballroom Etiquette- 4 Following in the footsteps of "... Dementia," GBV bring another of their prettier songs. While not nearly as crushing or dreamy as its predecessor, Pollard provides more incredible vocals while weaving a hallucinatory web of lyrics. The cadence is almost nursery-rhymelike at times making this an infectious earworm, if not always immediately. 
 
Instinct Dwelling- 4 This is the first glimpse the public saw of the LP, as this was released as the initial internet only single. After the previous 2 tracks, this one feels like the "punk" statement from the band. Pollard gives a more pissed-off, ominous vocal performance on the stomping chug of the verses before the gates burst open with its simplistic, fist-raising choruses. Carried mostly by the guitar crunch of Bare and Gillard, it's one of the heavier GBV dirges in a while, arriving with tinges of hopelessness and snarl. 
 
Queen of Spaces- 5 Perhaps after too much attitude from "Instinct Dwelling," GBV roll out one of of the most intimate moments in the discography  A song so cold and brittle in spots, you almost have to sit and observe, afraid it might break in your handling like an icicle. After sparse acoustic plucking, longing piano chords, and a blanket of strings, Pollard finally makes his entrance at the 1:20 minute mark. An what an entrance it is; the icing on top of what has to fit in the box marked "TOP 10 PRETTIEST GBV SONGS OF ALL-TIME."  If "It's Good," helped start the tears years ago, "Queen of Spaces," may help clear out your tear ducts for a while as you reflect on the entirety of your life, or perhaps the endless boundaries the fucking universe itself. 
 
Slowly on the Wheel- 3 Perhaps in an effort to catch your breath, Pollard unveils one of the heaviest experimental pieces of GBV writing and patience in a while. As if challenging "Who Wants to Go Hunting?," we're hit with another 6 minute outing, this time ending not the record but the first side of the LP. For 1:40 minutes, we hear a lone piano accompanied by a lone, shaky vocal track. It's so bare, it fascinates. Unfortunately, the song remains a little too desolate throughout its run time. At 4 minutes, it finally beings to sound like a rock band, complete with soaring melody worthy of celebration. A bold swing for the fences in experimentation, one that nearly comes close to sticking but pales slightly next to some of the more recent GBV epics of the last few years. 

 
SIDE B:
Cousin Jackie- 2 Another layered track, "Cousin Jackie" opens the second side with vibrancy and immediacy. Unfortunately, this has the rare distinction for me as being one I've liked less the more I've heard it. A mid-tempo stomper for most of it, Pollard says "make it rain," somewhere between 20 and 400 times to the point it becomes cloying. Toward the end, he takes a risk on some dated sounding rock scatting that doesn't completely fail but also doesn't really work. A bold track throughout, this one probably has the power the be a fan favorite of the LP, but leaves me longing. 
 
Wild Kingdom- 3 Absolutly melt over what sounds like the demo version of the vocals during the introduction of the song before the band kicks in. Another mid-tempo number that falls into straight ahead rock territory. Being that we're in prog land, the bridge has some start-stop moments. The simple but effective "an invitation to suffering moments," make this one slightly memorable. 
 
Caution Song- 3 A slower, mildly hypnotic track thanks for Pollard sounding like he's floating above the mix. Musically, there's nothing much to highlight, but simply revel in a great vocal delivery that helps make this a late LP song worthy of revisiting. One that seems to get better each time, personally. 
 
Face Eraser- 3 Somewhere between new wave quirkiness and punk delivery, "Face Eraser" commits the sin of being catchy by being nearly annoying. Pollard manages to continually rhyme a series of basic words with more basic phrasing, a technique that seems beneath his usual writing style. Feels like a sister piece to "Questions of the Test"; I should love this, but something is missing, and cant help revisiting in hopes that piece has somehow fallen into place.
 
Pockets- 2 In the style of "Cousin Jackie," Pollard relies heavily on repeating the title, basically giving scenarios of all the different ways we can use the word "pockets," in one's life. Like the word "pockets" itself, the song is rather a underwhelming. After a an LP of wild ideas, moments of swinging for the fences, this doesn't feel like we're properly shown the door. The extended guitars-only outro brings a welcomed farewell, if not somewhat unnecessary. 

Tremblers and Goggles By Rank (2022)

 Tremblers and Goggles By Rank 

(2022, Guided by Voices Inc.) 

Following on the heels of the rather concise Crystal Nuns Cathedral, Pollard decided to release the shortest GBV full-length to date in terms of track listing. At just 10 songs, this falls into a rarely seen category of LPs like Robert Pollard is Off to Business and The Crawling Distance, in terms of number of tracks. While the song total may seem skimpier when comparing it to your copy of Zeppelin Over China, Pollard took the opportunity to craft this into a multi-layered prog rock record that really benefits from the contributions of his most consistent and tightest line-up of musicians.

Tremblers and Goggles By Rank boasts a collection that finds more in common with “Lights Out in Memphis” or “Sons of the Beard” rather than “Auditorium” or “Hey Aardvark.” One can almost imagine the multitude of boombox edits Pollard had to make before sending these multi-sectioned clips to the rest of the band to be fleshed out. In short, this might be an even proggier affair than Sweating the Plague, an LP that was continuously lauded as a "prog" LP in the press releases. 
 
When it works, Tremblers... is cause for celebration, although there are moments scattered about where the record feels like it may be dragging its own feet. While not every moment comes across as a winner, I appreciate Pollard and the reliable cast of workhorses for still finding new ways to tackle the writing and recording process to deliver new surprises to the listener. The LP is mainly a winner but does feel like it might be destined as one of the outliers of the catalog, but only time will tell.

SIDE A:

Lizard On the Red Brick Wall- 4  From the first note, things already feel a little different in the Pollardverse than previous records. Immediately, the record bombards you with an industrial, post-punk style thrumming of guitar crunch. As the riff pulsates away hypnotically, the band kicks in, Kevin March providing a heavy handed stomp throughout. With Pollard's vocals on top, the repetition eventually gives this a long winded psych rock feel. Perhaps more a product of production than killer songwriting chops, this is an effective opener none the less. 

Alex Bell- 5 At a hair over 5 minutes, "Alex Bell" is one of the Guided by Voices' most ambitious singles. Released as a double A-side 7" (along with "Focus on the Flock"), "Alex Bell" is a gorgeous  layered slab of pop, melancholy, longing, and ultimately triumph with his highly infectious lead-out section. It's a song that requires patience, but seems to deliver new surprises in its mini-rock opera structure nearly every time. Multiple times I've had parts of this song lodged in my cranium, only to recall that it's all from the same song! 

Unproductive Funk- 4 Starting with purpose and conviction via the guitar into, GBV once again returns 

with a repetitive riff that only elevates when March and Mark Shue kick in with the rhythm section chops. Pollard sounds incredible here, carrying it with his spot-on vocal delivery. Eventually the song gives way to the breezier "this is no love" section, both providing relief from the paranoid verses, giving the listener something more sonically celebratory to latch on to. 

Roosevelt's Marching Band- 3 Compared to the brut and pop mixtures of the first 3 tracks, this one finds GBV in a gloomier mood, the chorus seriously elevating the verses with it pensive hooks and affirmative delivery. Once again, Pollard sounds incredible in the mix, only heightened by the subtly dreamier backing/double vocals that provide much welcomed support. 

Googles By Rank- 3 The track that has given the LP with its seemingly nonsensical and mysterious title, this closer to Side A feels like a throwback to some late 90's/early 00's GBV as Pollard began to lay heavier into his prog tendencies. While not bad, the song doesn't really ever get off the ground, feeling more like a musically jumbled snippet that feels like it could benefit from a little extra fleshing out. The outro is bombastic to say the least, providing some added boost and by far the meat of the song to sink your teeth into. 

SIDE B:

Cartoon Fashion (Bongo Lake)- 1 The second side opens with more multi-sectioned madness (a 4 parter at that, listed separately in the track listing). Unfortunately, this feels like a straight mash up of demos come to life, all of which don't quite fit together. The song is only mucked up by Pollard reaching way back into his bag of vocal buffoonery that he hasn't bothered to bring to the table in a long time, bending and twisting his way through questionable singing choices over rather uninspired guitar propulsion. If there is purpose and intent here, I'm not really sure what it is. 

Boomerang- 4 After the jumbled "Cartoon Fashion," the band takes its foot of the dirt-bike at the muddied shores of Bongo Lake for this one. Musically, it feels like an unfinished demo or old-school GBV snippet stretched out to just over a minute and a half. After the vocal contortions of the previous song, Pollard sounds downright dreamy during parts here, specifically with the surefooted double vocals that have the power to melt one's heart. On its own, it may not make every "best-of" list but in the sequencing, it provides the perfect "intro" to... 

Focus On the Flock- 3 As if in protest to the residual weed haze lingering from "Boomerang," GBV kicks in with more conviction here. The other single released on the double A-side 7", "Focus on the Flock," pretty forward at points, but contains some of the most twists and turns on the record than some of the more obvious layered tracks. Always surprising, mostly in a good way, this is one of the heavier aural hitters of the record. At times, I wish it were more concrete in spots but an impressive experiment that never stops shifting in its 3 minutes. 

Puzzle Two- 2 Much in the fashion of "Test Pilot," the boys provide a late album track that just will not stick in my brain no matter how many times I seem to revisit it. Much like that song, it's not terrible but simply does little for me. Unlike that track, I do appreciate that this at least has some grit and a fiery, fuzzed-out Doug Gillard lead riff over the bombastic ending section, one that seems to fizzle out into one of the boldest album closers on record. 

Who Wants To Go Hunting?- 4 Ladies and gentlemen, believe it or not, here is the 6 minute GBV song. Yes, the band that once brought you "Cigarette Tricks" and "Hit," has decided the time is now to unleash the epic. Fortunately, it mostly makes good on that delivery. After the thin sounding, but ominous bass intro, the song builds before giving way to the sparse verses that allow for some breath. Slowly but surely, the song intensifies, dropping in its slyly catchy chorus. As with "Alex Bell," patience is required. Thankfully it pays off as Pollard comes in with more creamy vocals, asking cryptically "who wants to challenge me? Who wants to go hunting?"  The lone bass comes back in, this time sounding heavier, as the record sees us off with a rare but welcomed instrumental revelry for nearly a minute a half. 

Crystal Nuns Cathedral ( 2022)

 Crystal Nuns Cathedral

(2022, Guided by Voices Inc.)

Until 2018’s Sweating the Plague, the concept of the 12 track GBV album was almost unfathomable. A band known for 10 track EPs (and a minimum of 14 to 15 songs per LP), the aforementioned LP broke new ground with one of their more focused, yet prog heavy affairs. It was a record that left little fat in the mix. Such was also the case with 2017’s Space Gun; a 15 track LP so worthy of celebration, Robert Pollard admitted to the conscious decision of letting it stand as the band's lone album of 2018.

While we're on the topic of Space Gun, I have personally come to regard it as the benchmark. Such is my fervor for what is undeniably the stone-cold best amalgamation of any Guided by Voices' lineup, this LP has remained in my heart as the best of the (whopping) 12 LPs since 2016. Its tracks weave nicely between heavy-handed pop, listener friendly prog, all topped with soaring harmonies. It's the reunion record I did not think could be topped.

Then, along comes Crystal Nuns Cathedral. Following 2021’s somewhat inconsistent It's Not Them. It Couldn't Be Them. It Is Them!, this record comes as a bit of a shock. Where the former is a collection of orchestral anthems smattered with some ho-hum 2-3 minute pop-leaning filler (and “Razor Bug”!!!), CNC drops into the catalog like an anvil. 

                At 12 songs, it’s a lean tracklist to be reckon with. However, every song packs a undeniable punch. The lack of filler shows, as every move feels about as calculated and deliberate as anything Pollard has released. As is the ongoing case with every new GBV, Travis Harrison continues to aid as the 6th member of the band with his stellar production. If there's a set of ears who gets how to elevate the band, they belong to Harrison. His production work alone cannot be understated as the band reaches new sonic highs. 

Over the past few albums, Doug Gillard’s string arrangements give an aural heaviness and emotional weight to these records that can be felt in one’s bones. Crystal Nuns Cathedral is no exception. In all this, Pollard continues to laugh in the face of the concept of aging. Vocally, he absolutely crushes his past performances with possibly his best showing to date. To top it off, the often psychedelic, existential lyricism are some of his recent best.

The question is not whether Crystal Nuns Cathedral as a whole is the best new "reunion record," but possibly one of the best Robert Pollard related albums of all-time?

SIDE A:

Eye City- 5 With its lackadaisical guitar bends and subdued time keeping, it's pretty immediate we're not in for a record filled with a bunch of “Cigarette Tricks” and “Hit" length tracks. No punch in the gut here, the LP opens with a breath of cold air, Pollard hovering over the vocal mix like hanging icicles. The guitars snake around as if longing to burst. After a much anticipated set up the song inevitably  explodes at the chorus.  Pollard's layered harmonies are equal parts haunting and infectious. Laden with dynamics, this opener is a panasonic attack of layered haze, the band waiting to attack at any moment. A long fuse burns slow eventually leaving unavoidable burns. 

Re-Develop- 5 Tom pounding abounds as Bare Jr. and Gillard lead a staccato guitar jab while Pollard lays an instantly slyly hooky verse. In revelry, the chorus opens into a top 10 fist raising anthem. Straddles a wonderfully delicate line between longing and immediacy. Begs for repeated listens during moments of triumph, and times of uncertainty.

Climbing a Ramp- 4 Carried by Gillard's pummeling cello arrangement and March's robotic hi-hat work, "Climbing a Ramp" is an upward journey full of longing, loss of hope, anxiety, and eventually the gimmer of possible hope. Like the grind itself, this feels like it'll never end, trapped in the ever moving, unforgiving gears of life itself. Eventually Gillard's blazing lead into fiery solo carries us out. Additionally, the orchestration brings this song to new heights, with Pollard's not-so-thinly-veiled lyrics about continuing to carry on "always climbing a ramp" only adding to the weight. 

Never Mind the List- 5 After the anxiety and eventual release of "Climbing a Ramp," this song sounds downright breezy. Closer to "classic" GBV than the previous songs on the record, "Never Mind the List" is carried by a singular Pollard vocal take that absolutely shines. Incredibly infectious in its mid-tempo groove, this song seems to again speak of continuing to carry on. Never mind "the list," disregard the outside voices. Come to think of it, never mind what I say on this site either! "And I always throw another list away." 

Birds In the Pipe- 4 The band plays a sparse waltzy cadence, Pollard confidently upfront in the mix. Another perfectly paced track with a lot of open space to breath. Halfway through, Pollard introduces an incredible call and response vocal part. Eventually, he ups the ante at the 2 minute mark, hitting incredible vocal highs, nailing the notes on the head. Where this may have paled slightly in the past, the group is so incredibly gelled with Harrisons' production topping it off nicely.

Come North Together- 5 Immediacy takes center stage, Pollard bellowing harmoniously from the jump. Side A leads us out with another celebratory anthem dotted with moments of melancholy. It cannot be understated just how surefooted Pollard sounds here, from the sing-along worthy verses to the bridge. An incredible ending to one of the strongest sides of any GBV outing.  

SIDE B:

Forced To Sea- 3 We open SIDE B with what feels like a callback to "Next Sea Level" off Surrender Your Poppy Field. It's a soundscape track of sorts, with the band nearly aimlessly moving along in pure mood. There's no immediacy here as you begin to wonder if we're getting an instrumental. At nearly 2 minutes, Kevin March kicks in with Pollard following suite. As close to stoner rock as the record comes to at this point, "Forced to Sea," is in no hurry, eventually leading us out with the force and determination.

Huddled- 3 "Huddled" is one of those tracks that  means no harm, no foul. In fact, every time I hear it, I've really enjoy it. However, in an LP full of continuous surprises and on point performances, I often find myself forgetting how this one goes. Somewhat prog-laced with its multi-sectional pieces. Not much in the way of a chorus to sink ones teeth into, but a strong enough middle of the pack showing nonetheless. 

Excited Ones- 5 The first of internet streaming singles to see release, "Excited Ones" is a pure melodic torpedo anthem aimed straight the auditory cortex. This one almost comes off as GBV-up-to-their-usual-tricks. Regardless, there's no point in denying the joy of this hooky, immediate anthem. Pollard slips in more moments of sly harmonizing as the band upwardly bashes behind him in a joyous pogo. Another revelatory track cloaked in a thin layer of melancholy. 

The Eyes of Your Doctor- 4 A hefty dish of psychedelic and the prog on one of the records most ambitious songs. "The Eyes of Your Doctor" starts out in an airy territory. Midway, the tempo picks up with immediacy before drawing us back into calm. Full of jilted starts and stops, Gillard's leads provide a memorable hook. Vocally, the hooks sink in after repeated listens.  At 4 minutes, and with a smattering of moving parts, this may prove to be one the sneakiest earworms of the LP with its assortment of surprises.

Mad River Man- 3 Foreboding penultimate track, the song is mostly carried by Harrison's production. Pollard delivers a somewhat middle of the road vocal hook over one of the gloomier showings on the record. A minor chord feast that comes off as one of the more forgettable moments of the record.

Crystal Nuns Cathedral- 5 Following the gloom of "Mad River Man," the band fires back up for a wonderfully revelatory, concise, and hook laden closer. Full of cryptic, psych lyrical mysticism, this may be the most immediate closer since "An Unmarketed Product,." At just under 2 minutes, this pop gem calls for you to flip the record back over and start the journey again. 

It's Not Them. It Couldn't Be Them. It Is Them (2021)

It's Not Them. It Couldn't Be Them. It Is Them

(2021, Guided by Voices Inc.)

Reputedly an album title that was in contention for 2003’s Earthquake Glue, the INTICBTIIT moniker finally sees the light of day. As tongue-in-cheek as it is true (and a testament to the groups audacity), Guided by Voices continues to throw caution to the wind. Record plant backups be damned, GBV can’t be stopped, won’t be stopped! The 2nd proper Guided by Voices album of 2021 (and the 11th with the re-reunion band, if you're still keeping score at home), is yet another triumphant display from the solidified line-up that seems determined to take no prisoners with each subsequent record.

After the experimental, mixed fidelity "school musical rock opera" grab bag of Earthman Blues, GBV issue another 15 tracks crammed with sentimentality, high wire experimentation, and an orchestral display rarely seen before. The sheer fidelity here is also an immediate standout. Always a wiz behind the boards, Travis Harrison takes matters in his own hand by crafting perhaps the most hi-fi GBV record yet, one that really compliments the inclusion of such orchestral passages as mentioned. The experience truly pays off in helping push some of the records (multiple) triumphant moments through the ribcage.

Unlike some its predecessors, It Can’t Be Them.. is one of the few records that feels like it lacks any sort of cohesive feel, weather thematically (Earthman Blues), or stylistically (Styles We Paid For, Surrender Your Poppy Field). This doesn’t necessarily detract from the record. However, it’s one of the first in a while that feels like assortment of songs without a distinct stake in the catalog to claim. Nevertheless, it’s another dizzy display of Pollard’s bottomless barrel of brilliance delivered in recent year quality we’ve not only come to expect, but may possibly be taking for granted at this point.

  

SIDE A:

Spanish Coin- 4 As the 3^rd run of GBV LPs continue to pile up, the surprise left turns of Song 1/Side 1 keep coming. No longer a sure bet, Pollard has used these first tracks as a springboard for some of his wilder ideas (see “Year of the Hard Hitter,” “Downer,” etc.) “Spanish Coin” is no exception. At nearly 3.5 minutes, the song takes its time building up over traditional flamenco guitar leads, trilling trumpets, and layers of Latin percussion. Pollard sounds upfront, somewhat desperate in his delivery, really aiding the arid feel of it all. If nothing else, the song is another welcomed gamble in style and mood that generally pays off.

 High In the Rain- 5 One of the early online singles released for the LP, “High In the Rain” is up there with some of the most triumphant GBV songs in the catalog. Pollard sounds excellent, bellowing out melody after beautiful melody. Gillard’s string arrangements sore, hitting you directly in the chest. Like the opener, this one builds until ready to burst. Perhaps almost too heavy handed in spots for some, this is uber lush territory, only further propelled by Travis Harrison's impeccable production.

 Dance of the Gurus- 5 A propulsive guitar anthem, filled with psych dropouts. Not to mention infectious, perhaps due to Pollard’s near cloying repetitive word play of the fleeting not traditional “choruses.” The song benefits from some well timed drop out, only to explode back in, particularly at the end.

 Flying Without a License- 3 Barebones guitar intro gives way to sudgier prog psych.  When the band kicks in they trudge along a slow groove, taken their time while cloaks himself in a blanket of vocal reverb. The whole track feels clouded in smoke, as you peer through the haziness with half open dried eyes.

 Psycho House- 4 Following the vein of recently named “house” songs, this one takes a page from the repetitive slow burn of such growers as “Slaughterhouse” off Styles We Paid For. Subdued to a low-level drone jam of sorts, “Psycho House” constructs a hypnotic mood, one that’s easy to fall backwards into waiting for it to consume you. The kind of song that boarders on temporary psychotic bliss.

Maintenance Man of the Haunted House- 3 Speaking of more “house” songs, Pollard continues his fascination with domestic dwellings. Here, Pollard and gang dive deeper into “moody” territory. The feel of this one is solely in the name. An eerier slow burn, in the vein of Circus Devils’ track.

I Share a Rhythm- 2 Completely harmless pop rocker. Unfortunately, it’s the cut and paste structure that makes this feel mostly forgettable. Comes off as a tossed off track backed by a single  Pollard vocal track that’s one of the only spots on the record leaves a little to be desired. The type of GBV track that fails to make its way into my memory, causing me to forget what it sounds like until I put it back on.

Razor Bug- 1 Destined to be THE most talked about track of the LP (for all the wrong reasons), “Razor Bug” is essentially the new “Sad Baby Eyes,” but more stripped down. Pollard “performs” acapella into his boombox, sounding like a sloppier, less gravely Captain Beefheart, spewing off some possibly stream-of-conscience lines about Mr. Razor Bug. I don’t hate its inclusion, and in fact kind of enjoy it showing up to end Side A. Essential? Far from it. An event not to be missed. Oh yeah. 

 

SIDE B:

I Wanna Monkey- 2 Excellent industrial drum intro leads us into post-punk pop territory. At nearly 3 minutes, Pollards voice hangs upfront for the majority, bringing to mind a Lee Ranoldo-esque delivery. The outro propels toward the finish line, Pollard shining in a bellowed doubled vocal performance, but the song never really takes hold, falling flat in an “I Share a Rhythm” kind of way. 

Cherub and the Great Child Actor- 4 From the get-go, the lead intro brings to mind some vintage Pollardian penned moments . Vocally, Pollard delivers a hypnotically melodic croon throughout. The group comes off so effortlessly, it's almost easy to miss the simplistic beauty here. Smooth, subtly jangled, subtly psych, all pop at a perfectly prim 2 minutes. The song rings out... 

Black and White Eyes In a Prism- 5 ... different in scope but somewhat similar in feel, we pick back up, as if this were the added addendum to "Cherub..." At 4 and a half minutes, "Black and White Eyes..." is the epic of the LP, and what an epic it is. Disregarding multi-sectioned layers found on some of the band's recent epic outings (i.e. "Light Out in Memphis," "Sons of the Beard"), "Black and White..." relies on its easy flow groove while slipping easily into a multitude of lush string passages. Much like "High In the Rain," this one spills over the top several times in pure revelatory triumph. 

People Need Holes- 4 Dogged by a fairly forgettable first half, "People Need Holes" is all about the fist raising second section. The first minute and a half is all about the anticipation, waiting for Gillard's angular lead to accent Pollard's deadpan melody until the quadrophonic "oh yeah"s carry you off downstream in a joyous haze.

The Bell Gets Out of the Way- 3 Reserved in feel, similar to "Low Flying Perfection, “ off How Do You Spell Heaven. After running through a bit of an emotional gamut, "The Bell..." feels like a refreshing palate cleanser with a finish warm hug. A place to regroup after some heavy handed aural therapy.

 Chain Gang Island- 3 Mid-tempo stomp, accented by some immense vocal reverb for max psych disorientation. Boiling slow and steady, it all mounts to a headrush of feeling; a satisfying blend of hard psych rock finishing off in an extended, swirling existential psych jam that's a welcomed (and necessary) addition to the LP. 

My (Limited) Engagement- 5 The first of the online singles to be released from the LP, GBV send the LP off on a high leg-kicking note, Pollard reaching the highs with a saccharine sweet bellow. A compact mini-anthem destined for easy GBV playlist pop territory. A final sunbeam at just under 2 minutes from another sonically demanding LP of tricks and audial delights. 

 

Clang Clang Ho (2021)

 Clang Clang Ho

(2021, Guided by Voices Inc.)

It’s July 4^th weekend 2021, and Guided by Voices have returned less than 3 months removed from Earth Man Blues! They cannot be stopped!!! The full roster is here. 20 jammed packed songs from the likes of Pollard, Gillard, March, Shue, and Bare Jr. Soundman/producer Travis Harrison is on back on board, fiddling with knobs and taking on full instrumental responsibilities as well! Except, this isn't GBV at all. It's the full length debut of the somewhat "mysterious" Cub Scout Bowling Pins!

 

Following the release of the highly lauded Heaven Beats Iowa (an EP that swooped into the pre-order world without warning, and was delivered to doorsteps in one of the fastest turn around surprises in a while), expectations were set. The 6 song EP featured a mix of styles (lo-fi rock, power pop, new wave inspired pieces) that blended together and satisfied like a heat-and-serve lunch on the run. It was a quick shock of creativity from a group of guys already churning out an unfathomable amount of material since reforming in 2016.

 

Perhaps the bar then was set just a little too high for the debut LP Clang Clang Ho, one of the more uneven offerings in the Pollard catalog in a while. The LP in hindsight almost feels doomed after the one-two punch of its predecessors creative offerings. In its place, the LP feels at times lacking the urgency, creativity, brevity set forth earlier in the calendar year. The LP in turn tends to fall somewhere in between a Cash Rivers album (without the blue humor) and dated adult contemporary. Add a few dashes of psychedelia and muddled mid-fi pop for good measure, and you’re left to make sense of this as a whole.

One of the more polarizing issues with the LP, nearly every track runs the risk of feeling mucked up with dated synths, tropical themed percussion,  and a smattering of electronic bleeps and bloops that add up to a bit of a sonic head-scratcher. On top of that, there’s almost no predicting when Pollard will drop in with some further muffled scatting vocal tracks.  

 

 

It's a record brimming with collective ideas, each member writing and recording backing tracks that does bring a few merits to the table. It’s a grab bag for sure, one that sometimes maddens more than delights, bringing new sonic layers to the Pollard pre-recorded vocal boombox demos universe.

 

Strap in and take the ride in the...

 

SIDE A:

Magic Taxi- 3 We begin our ride through the fun house with a solid attempt at '60s melodic pop, glazed in a dreamlike fog. Feels reminiscent of a fairly balanced combo of The Monkees meets The Who. However, the whole track is so bloated with lush acoustics and sweeping synths that it winds up overshadowing much of the simplistic beauty going on here. Memorably hooky in a children’s song kind of way.

 

Flip Flop World- 1 Ho' boy. Who let Cash Rivers crash his dune buggy into the second track of this album? Uncle Bob shows up to basically scat over dinner table Luau music full of bongos and subtle surf rock palm muting. Humorous if little else.

 

Casino Hair Wife- 3 Mid-tempo tune for gray skies, but one that slowly wins you over in bleary eyed monotony. Pollard sings in a drawl as the song limps along with undertones of postpunk malaise, sneaking into the back of your brain to stay.

 

Ride My Earthmobile- 2 Pollard repeats the title of the song a million times in a goofball voice as kaleidoscopic carnival rock spins around, toms pounding, slowly building in an anxious repetition of jilted psychosis. A slight glimmer of hope musically, built around a limited Pollard vocal sketch.

 

Schoolmaster Bones- 3 Bounce-tastic easy listening, as Pollard croons, and sometimes plods his way through. A mini Who-esque number in places that rewards with revisits. 

 

Eggs, Mother?- 4 Pollard, a man haunted by eggs, continued obsession with finding ways to sing about them in his art. One of the more upwardly mobile songs in the set, the track is an obtusely catch track that sinks in. The piano adds an extra bounce in the songs already carefree step. At just over a minute, it's a bizarre ray of sunshine in a somewhat murky record.

 

Strange Walk Home- 2 FM '90s college rock radio friendly, "Strange Walk Home" feels like a hazy dream. Pollard's vocals wonder about complete with tremelo effect and the donning of odd accents. Unfortunately, it's all mostly forgettable. 

Nova Mona- 3 Another one that falls instrumentally in pop-bop spectrum. The Pollard vocals on the verses leave little to be desired, causing it to all fall in the pocket of blandly average. 

 

The Telegraph Hill Gazette- 3 Opens with promising jangled acoustic guitar lead before heading slowly down a darker, more mysterious path. By songs end, this one feels like we're deep in the woods, buried in another dream. Almost forgettable if not for it's incredible execution as moods transition before our ears. Seamlessly bleeds into... 

 

Everybody Loves a Baboon- 1 A song that lives up to its poor title. More scatting from Uncle Bob as this song leads us out in under a minute. 

 

 

SIDE B:

© 1-2-3- 4 The bonafide pop single of the LP, Side B’s opener is vintage melancholy pop, complete with call and response melodic gold. A steadfast winner that warrants plenty of quick, satisfying visits.

 

Sister Slam Dance- 3 Perhaps the most “metal” track on the LP, this song also lyrically tips its hat to the Clang Clang Ho title. Somewhat grim, with a dash of industrial, “Sister Slam Dance,” is the kind of prog-light sludge you find yourself eventually reveling in.

 

It's Marbles!- 1 A mixed bag of guitar bending, harmonious backing vocals, Uncle Bob drunken accent bending. Also feels like a Cash Rivers song that got away and stuck here. Not sure who this song is for? 

 

Space Invader- 4 A mini-prog pop passage that is easy on the ears as it is on the heart. Sounds like a paisley-shirt era '60s demo. One of the best of the tracks on the record that gets better with each listen. 

 

Human Car- 1 At 1:30, "Human Car" is more filler for the mix, unfortunately clogging up the Side B with odd choices. No real vocal melody to speak of. Feels like Pollard was trying to figure a few things out as he went along. Musically, the song also feels like a skeletal work in progress that never found its footing. 

 

Competitor- 2 A mostly frenetic wild guitar strumming journey complete with staccato scatting interrupted by moments of ho-hum, breathable moments of reflection. 

 

She Cannot Know- 3 Downer rock complete with haunting pan flute, evoking some sort of brown sweater wearing folk performance on a gloomy fall day in the college quad circa 1967. 

 

We- 4 After a minute instrumental buildup, Pollard appears in another mini-prog display. The song leads out in a group chant and moment of sheer triumph! A nice bright spot toward the end of the record. 

 

Roll Up Your Nose- 4  Perhaps the best Pollard vocals performance on the record, complete with melancholy, melodious bravado. The song leads us out with a wonderfully repetitive group vocal of longing and victory. Yes, this certainly is one hell of a closing track to bring this long record to a fitting close!

 

What Crawls Also Flies Over- 2 Oh wait, what a perfectly missed opportunity at a closer with that last one! In perhaps fitting fashion, this 2 minute mid-tempo tune actually sends us off with out of tune vocals, paper thin drumming, and lifeless acoustics. Clang clang ho! 

Earth Man Blues (2021)

Earth Man Blues

 (2021, Guided by Voices Inc.)

In the Robert Pollardsphere, the concept LP is a bridge that’s been crossed several times. While often not overtly rooted in any tangible concept, Pollard (ever the rock aficionado), has slapped that label onto various records that seemingly contain little to no theme. It’s part of what makes the snaking creative labyrinth of his colossal body of work so enjoyable, intriguing.

With the concept record in mind, we find ourselves at a hodgepodge of ideas smashed together as only Pollard and Guided by Voices can present. Beyond his penchant for assigning elusive meaning to some of his LPs, Pollard is a collector of his own ideas strewn across notebooks, cut-and-paste collages, and dusty cassette tapes straight from the boombox. Armed with a collection of such ideas, and always looking for new ways to assemble his art, Pollard went different route in constructing GBV’s frenetic LP Earth Man Blues.

A collection of discarded songs, Earth Man Blues resurrects some of Pollard’s scraps from recent years and gives them new, often exciting life. It’s an assemblage of nearly lost bastard songs and snippets redone and remotely recorded from several locations across the US (including Kevin March’s drums being put to tape outdoors from a Montclair, NJ parking garage). To top it off, Pollard assembles the liner notes and artwork to mimic that of a stage play with the essence of a Playbill. The front cover boasts “John A. Morrison Production” (Pollard’s elementary alma matter in Dayton, a school that has since been bulldozed), as we embark on twisted, small town public school theater.

Pollard may not always be profound, but he is always intriguing. And after a potent 2020, GBV with stalwart producer Travis Harrison have delivered a somewhat confounding record; a times a return to basics, other times venturing off into bold new experiments. It delights, it frustrates, it keeps you coming back for more looking to uncover more pieces of the puzzle, much like GBV themselves.

 

SIDE A:

Made Man- 2 For an LP of discarded songs, this opener stalls out of the gate as one of the most trash heap worthy GBV fragments come to life. Practically one verse, so cloying that it somehow infects your brain over time. Interrupted by an extraneous orchestral bridge that drops in from left field, making for a maddeningly out of place yet exciting moment. Damned if you don’t walk around whistling this blink-and-you-miss-it tune after few spins though.

The Disconnected Citizen- 4 A waltzy, breezy ballad carried by more lush orchestral backing. Pollard sounds warbled, frail but in a positive way. The whole track feels triumphant, yet dusty, like an old photograph unearthed in an attic to see the light of day. A potent number that takes it time, allowing you to interchangeably raise a fist or shed a tear. 

The Batman Sees the Ball- 3 Lean repetitive riff rocker devoid of any extra baggage. Carried on the merit of said lead riff, this one feels mostly like a no harm no foul (no pun intended) track. It’s in the pocket groove gives sculpts it, but almost feels as if the song suffers from a lack of rock propulsion. It hits more like a mid-00s Tobias track, missing that certain something that fails to push this over the edge into greatness.

Dirty Kid School- 3 A rare moment of GBV swagger mixed with a healthy dose of schizophrenia; from the drums to the guitar work, complete with Pollard's free-swinging vocal lines. Travis Harrison, ever the mad scientist juggles ideas around making this an aural free-for-all full of daredevil instrumental changes, complete with Zappa-esque percussive bridge. It's a head scratcher in some of the best ways. 

Trust Them Now- 5 A propulsive pop track that leans into punk territory with a healthy dose of Pollardian pop melancholy. Uncle Bob lays down a low registered vocal track that flows with easy, imbedding itself in one’s brain. The undeniable anthem and new classic of the record that makes you wonder what could’ve possibly kept this off any past records in the first place. 

Lights Out In Memphis (Egypt)- 4 If you're looking for a multi-layered progrocker, strap on your jetpacks, zip up your jumpsuits and fall face first down the looking glass as this nearly 5 minute monument of rock unfolds before you. This one takes its time to even get started, eventually jump cutting from verse to chorus. However, once those choruses hit, and eventually repeat, it becomes a slow burn cause for celebration. If you stick it out and revisit, you may find the anticipation of the track, combined with the instrumental swelling make this too promising to pass up. 

 

SIDE B:

Free Agents- 5 Another new GBV classic! Steady hook filled verses build upon each other until the song eventually feels as if it takes flight thanks to Gillard's chiming leads and Pollard's building intensity. By the time we hit the second half of the song, the band feels aloft, Pollard bellowing dreamy worthy hooks with ease and purpose.

Sunshine Girl- 4 "Sunshine Girl" feels like a large chunk of the GBV ethos crammed together in a 2 and half minute package of ear candy. At its core, the song is a delightfully mixed bag of waltzing folky jangle pop. However, it's bookended by a hell of a pair of mid-fi psychrock snippets that makes you beg to wonder what wondrous roads they could've taken us down as well if expanded upon.  

Wave Starter- 3 Rolling toms, pounding snare, and gurgling bass line give this declarative run of the mill track a strong frame work. Perfectly fine song, almost destined to get lost in the sea of tunes. Feels like a potential mid set live song Pollard insists on keeping on setlist for the long haul. 

Ant Repellent- 2 One of those GBV moments in common with a Circus Devils’ idea than a GBV song. The song is essentially a slow chug and stomp while Pollard and gang annoyingly deadpan "Ant Repellent. Ant repel ant." A few moving parts, including a brief stoner jam ending that is a breath of fresh air, but never feels it has much purpose or direction. 

Margaret Middle School- 4 One simplistic minute of midtempo rock given life padded nicely with vocal pop hooks that flow with easy. Gets stuck in your head with little notice. Joyfully short and sweet for a quick revisit. 

I Bet Hippy- 4 GBV tackle this track with welcomed minimalism. Pollard sounds somewhat vulnerable but surefooted. Mark Shue plays a descending bass line that sounds like dense a melodic avalanche of melancholy slowly rolling down the hillside backed by brittle guitars. Has the power to slyly sink its teeth into your psyche. 

Test Pilot- 1 After listening to the LP about 20 times, I still can never recall what "Test Pilot" exactly sounds like. It manages the rare feat of feeling like a black void on the LP; a song that simply can't be recalled. Pollard sort of sneers over forgettable guitar licks backed by stiff, uninspired midtempo drumming. And then it ends, sitting there to be rediscovered and forgotten for another time.  

How Can A Plumb Be Perfected? - 3 Perhaps the most cryptic GBV track of the record. Like “I Bet Hippy,” the band goes with a minimalist approach, keeping this hushed, letting the beauty lay low. Pollard chooses to veil this in a shadowy reverb and chilling minimalism. The approach is somewhat fascinating, and it works, except the chorus constantly brings to mind The Psychedelic Furs in a way that continues to haunt me in all the wrong ways. A roadblock yet to be passed. 

Child's Play- 3 One of the wildest, if not THE wildest closer in GBV history. Actually, one of the stranger mishmash of songs in the GBV catalog. Absolutely jarring upon first listen; a fragmented nightmare of high-octane rock, jilted stops and starts, and masturbatory guitar soloing that begs for a double take and a deep dive once more. A disjointed send-off on an album full of resurrected ideas.

Heaven Beats Iowa EP (2021)

 Heaven Beats Iowa

(2021, Guided by Voices Inc.)

Originally, word that a project under the name Cub Scout Bowling Pins was casually dropped in a rare Pollard interview a few months prior to the release of GBV's Styles We Paid For. A few weeks later, a sneak peak track popped up in the GBV weekly steaming service, Hot Freaks. 

Following that, a few weeks of Cub Scout Bowling Pins radio-silence followed. Without warning, early one January day, the pre-orders were up on Rockathon Records, less than a month after SWPF's street release date. 

The 6 song 12 minute EP is a GBV collaboration consisting of the current line-up, seemingly pieced together by regular engineer Travis Harrison from what feels like a variety of different recording contributions by the band. This weirdo pop friendly quickie of a release is a much welcomed surprise in an already, and prolific-even-for-Pollard pool of recent GBV LPs over the past few years. 

Limited to 1000 CDs and blue 7''s, respectively. 

SIDE A:

Hobson's Beef-  3 A solid amalgamation of the pop meets rock aspect that runs through each track on the EP. This opener finds Pollard dipping in and out of tune with varying levels of tape hiss in the mix. Hooky, optimistic guitar lines carry this over drum stomp. Feels like the most patched together, if not progressive of the tracks on the EP. 

Gear Balloon Mouse Trap- 5 A melding of vintage early '90s Pollard crashing head on with Universal Truths... era GBV. A minute and a half crooner that calls back some nostalgia. Benefits from its brevity; a short one that packs an emotionally gratifying wallop.

Moon Camera- 4 A shadowy prog pop number bolstered by some marimba type backing. A creeping indie rock mystery that's subtly great. A 2 minute track that continues to surprise with each revisit.

SIDE B:

School School- 4  What a complete glorious mess. A melancholy, yet fist pumping guitar jangle punk pop anthem in just over a hair of a minute. The lyrics are complete repetitive nonsense, but delivered with a conviction that only adds to the power of this revelatory song.

Funnel Cake Museum- 3 After nearly a minute of airy breathable intro noise, this one takes a hard left into standard guitar stunted mid-tempo rocker. Feels like a Warp and Woof bonus track. No great shakes, but a wholly familiar, digestible nugget.  

Heaven Beats Iowa- 5 Released as a preview single track online before release, this closer holds the distinction of being an infectious number that you recognize as a good song, that only gets better with each listen. It sticks with you, that nearly annoying but necessary melody from the organ. Pollard sounds like he's got honey in his voice singing the ending. Keeps you flipping the record over for more.