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" 

Blasphemy (2025)

 Blasphemy 

(2025, Splendid Research Records)

After releasing the 8 song, 17 minute The Grand Rapids EP in 2024, it seemed as if Bob and company may have released another one and done project. Only time could tell. Comparisons to the loose cacophony of Howling Wolf Orchestra or Nightwalker were more on par in comparison than ESP Ohio or Mars Classroom. 

Then, by miracle, along came Rip Van Winkle with their first full-length LP! If The Grand Rapids EP was their Meat Puppets In A Car EP, then this might have jumped all the way to being their Meat Puppets II. 

Once again, Pollard and the members of Joseph Airport (which includes such as liner notes legends as Joe Patterson), return with a self-described "performance" record. One could argue, it's a concept. Others could say it makes no sense. 

In place of a lyrics sheet, this baby comes with a band proclaimed script! Songs are held together with theatrical interludes or what feel like the delivery of non-sequitur dialogue. And unlike its 8 song predecessor, this record is a more fully realized band record, calling back to some early GBV highlights with the feel of 4 people hammering out the songs and hitting record. It's refreshing, and a welcomed addition to the catalog. 

SIDE A:

On Behalf Of The Morning Announcement Staff- 1 Kicking off this listenable screenplay, we get some ambient radio waves! Dig it. Not a song so extremely excited to hear...

Shit-heel Man- 4  ... that Rip Van Winkle has been practicing! I don't want to say anyone's soul was sold at the crossroads, but I'm also not counting it out. Immediately, compared to the debut, you can hear the difference in delivery and intent. In fact, this could have had a place at the GBV table somewhere along the way had it been worked earlier. The mid production really works in the songs favor, adding to its basement sheen. 

Pool Hall Tactics-3  "Kaiser Prose" plays in the background of what sounds like a social gathering set up. When it kicks in, the band delivers something that sounds like it stepped off the grooves of The Harold Pig Memorial  to say fuck you. Tip of the cap the the bold drum solo in the middle of this distorted plod that totally works. 

St. George- 1 Sounds like "Down the Island" off GBV's Warp and Woof before going off on its own path. At under a minute, not much to speak of in this brief idea that is now preserved. 

Six Black Horses- 3 Is it the horse imagery, but this feels like it could be cut from some Neil Young cloth. Then it dives into grungier Crazy Horse territory... Or Circus Devils? Rad dissonant ending that could have been held out longer for added Sonic Youthian moments. 

Union- 3 Bob Pollard sings a sing-along, folky tune with an alien or Gizmo from the holiday classic Gremlins. Not a bad song, not a great song. Conceptually more interesting than the song itself? 

A Mirror Off- 4 Absolutely love the repetitive bassline on this, anchoring down the slinking guitar warble. Indulgent mix of garage rock and scrappy psychedelia inviting you to fall into. Possibly the strongest track on the record! 

SIDE B:

By the Water- 4 Yeah, 2025 was my "By the Water" summer. Sorry to the rest of society for not getting down with this obscure, yet essential jam. 60% within 60 miles? Educational too! The duel guitar call and response approach is incredible over a song so stupidly infectious it hurts. 

Quiver and Quill- 4 Opens with what sounds like a fractured table read before kicking into a jangled, tasty indie tune. Pollard does some questionable scatting in the middle that I don't mind, but the song really rules!

Snake With Human Heads- 3 After the sound of more marching, Pollard greats us with an acoustic opening before its tonal guitar-chiming second half kicks in. Did not get this until the redeeming percussive last minute hits, an the ideas start to gel in some amalgamation over Pollard's cryptic imagery. 

Discussion Amongst Toads-2  For a brief moment, in between the song's confounding bookends, this may be some of the heaviest music Pollard has been a part of! Unfortunately, I wish this came together better as a whole. 

This Is My Thriller- 4  Incredible title in what sounds like Pollard taking another stab at making his "Being For the Benefit of Mr. Kite." A haunted organ driven waltz that wobbles as it goes along. Suddenly, the song stops and a we're subjected to a minute plus of piano noodling, and background conversation. With a little over a minute to go, the piano stops and we're escorted back into this haunted circus atmosphere. The piano juxtaposition is such an unnecessary and jarring move, I absolutely love the decision. 

Gangbusters- 3 A nervy acoustic driven track that sounds like eastern inspired psychedelia leading us out into a return to... 

On Behalf Of The Evening Announcement Staff- 1  More radio waves lead us out, practically identical to the first track. I may not understand this script, but sure as hell hope to see this acted out one day, whatever it is! 

The Grand Rapids EP (2024)

 The Grand Rapids EP

(2024, Splendid Research Records)

What's that? It's not that? It couldn't be that? It is that!  As the Fading Captain series continues to fade into the annals of time, so did some of Pollard's tendencies to spring back into action with his insatiable appetite to create more bands! At any given season, one could expect a new surprise moniker to pop up proclaiming Pollard's new band! However, as the solo LPs grew in stature, and Boston Spaceships made a swift and incredibly prolific statement before disbanding, and GBV eventually reunited into it's most dizzying run yet, the side projects became a thing fans recalled rather than expected. The brief appearance of Cub Scout Bowling Pins in 2021 (featuring all members of the current GBV lineup), brought a welcomed refresher back to the mix for the Pollard heads eager to see where his creative channels continue to flow. 

Then, out of nowhere it appeared! Rip Van Winkle: the new project on Pollard's new record label, Splendid Research. Here, Bob teams up with close friends and creative Dayton allies Joseph Airport to form a no-wavey, impromptu sounding EP that haunting, sparse, and spontaneous. For fans of Acid Ranch and Howling Wolf Orchestra. 

The LP and CD were pressed to 1000 copies each.

SIDE A:

Prose Kaiser- 3 Instrumentally, feels plucked from the early 80s. There's a strong song here, and love the Sonic Youth-esque guitar interplay. The kind of song that you know would be awesome to see a band play in a warehouse setting. 

, 

He Did the Clock- 2 Getting acid flashbacks of the days of the Fading Captain Series for sure. The tryout tape for art school that got away and there's something in me (the "Razor Bug admiration part of Pollard's art?), that I admire. Love that Pollard still goes for it in these moments, groaning and all. 

-1- 1 I dig the songs absolutely almost nonexistent title for some reason.  That's about the only plus for me on this one. Big fan of the free jazz, Nation of Ulysses-esque trumpet stylings at the end though.

Images From a Dead Planet- 1 At nearly 4 minutes, this proves to the patience tester. Feels like Acid Ranch improvisational instrumental jams. 

SIDE B:

Storage- 3 A minute and a half acoustic number from Pollard. About the quality you might find one of the Eat 7''s. A fine number that's looking to fit in here, but sticks out like a welcomed bastard child!

No Crows For Valdez- 1 Pollard sings ring-a-ding-ding-ding over improvisational snare drumming and guitar plucking. 

Circle of One-2  Coming in at just over a minute, this sounds like the song playing in the head of a dying cowboy. Or so I'd like to imagine. I'm not even sure I'd LIKE to imagine that but here we are.  Scrappy percussion, some harmonica, offbeat drumming, out of tune guitars. 

The Metal Clips That Go Over-3 A scrappy, much welcomed tremolo soaked lead out in an avant reworking of "Baba O'Reilly"? Rip Van Winkle is here! 

Squeeze the Needle (2023)

 Squeeze the Needle

(2023, Guide by Voices Inc.)

Circus Devils died a planned death on 2/24/2017, the day their 14th and final LP Laughs Last was released. This ended the prolific, challenging, often demented run of art-damaged rock between Todd Tobias and Robert Pollard (let's not forget brother Tim Tobias' frequent contributions). 

Circus Devils always kept you guessing, but they were never boring (well, does Five count? Sorry, I like it now!). In a sea of Pollard solo LPs, random one-offs, and GBV reunions, Circus Devils were pretty much a sure bet for an annual record (sometimes 2 in a year!). It was Tobias' way to flesh out his manic studio ideas, while Pollard added his free flowing poetry and no-limits ideas loose over a volatile sea of sounds. 

But, lo and behold, just in time for Pollard's birthday (Halloween... a favorite release date for Circus Devils), came the seemingly out of nowhere reunion no one saw coming. Circus Devils' surprise record. Sonically, it picks up right where the group left off. That is, it's like nothing and everything they've done before. The record's a real grab bag of ideas with killer Tobias production as usual in the Circus Devils realm. 

Thank you Circus Devils for reminding us nothing stays dead. 

Wouldn't mind more of these!... 

SIDE A:

Honeymoon in Waynesville- 3 This song is the sonic equivalent of walking into a roadside bar off the highway, feet sticking to the beer soaked floors after being awake for well of 24 hours. A wobbly rocker that sounds like it was written and etched onto tape with minimal effort. Can't pinpoint the uncomfortability here, but I like it. 

Here We Are- 3 Percussive oddities abound as chants of "HERE WE ARE!" echo about. Industrial jazz for your next paranoia fueled cocktail party!

The Owl Presents...- 4 This one gently comes in sounding like an 80s Sonic Youth jangly interlude before building into a reserved track anchored by its bass groove and repetitive guitar hook. Eventually the song breaks down into Pollard driven tribal howls before coming back around to the beginning. 60s psychedelia meets 80s guitar based college rock. 

Getting Better- 5 Trudges out like a car trying to rev up before flatly (and sublimely!) clunking along with its staccato guitar jabs and perfect Pollard vocal prods. Manages a subtle hook in its chanting choruses. Love the upfront Pollard vocals in the subsequent verses. Mildly epic! 

Age of Transfusion- 5 Classic Circus Devils stuff here. Haunting piano with prickly guitar (and vocal sample?) ballad bolstered by absolute killer vocal takes by Pollard.  References Lifeguards' "Paradise is Not So Bad" off Waving At Astronauts. 

(I Am) a Happy Boy- 4 In a normal world, this could pass as breezy 90s indie jangle perfection. Thankfully, Tobias mucks it up with a bunch of unnecessary sounds scrapes and scraps while Pollard drops some dopey ass lyrics, babbling away with a vocal performance that I wouldn't change for the world. 

Strawberry Limousine- 3 Short and sweet, something that could've been off a mid 00s Tobias produced Pollard LP (possibly sans the "every German scientist" line, but also totally could've been in there too). 

Talking In Circles- 4 If Czech New Wave film was a song, this would be it. Eerie, and eerily comforting, and somehow jarring. Like waking up already hungover in a haunted tiki lounge with no semblance of time or logic. Hypnotic; funny if you need it to be, unsettling if you need that too. 

Street Toughs- 3 A Harold Pig Memorial outtake? A big swing, guitar crunch track that's both sonically bombastic and vocally bonkers. A weird, sweaty gelatinous concept of what aliens might think of if they were tasked with recreating "hard rock." 

Online Zombie- 2 Ambient house music with Pollard shout singing over angelic symphony drawls. Big fan of the backing vocals, but don't know where this one fits for me. 

SIDE B:

Mama's Got a Brand New Snake- 3 Great title! Can't wait to see the film. Circus Devils tapping into their inner Melvins (Monster Magnet?) sludge rocker worship. Pollard gives a strong performance over the plodding dirge of Tobias.   This songs sounds like an ashtray smells, and that is a good thing here. 

Laughable Suit- 4 Feels like a mambo from Hell. A brief but great acid headfirst dive full of bad vibes all around. Wonderfully cryptic, subtle, and unsettling lyrics add to the general dark cloud this one drags around with it. 

Bad Queen- 5 If monsters started a garage band (but actual monsters), and were really good, this could possibly be the result. Self reflective monsters too based on the lyrics. Repetitive, monotonous, unforgivingly weird production make this a nightmare gem. 

Franklin's 48th Hallucination- 4 Guitar rock with horror underpinnings. It's a short song, but damn this one feels like it gets dark. A digestible headache in under a minute and a half! Take the ride. 

Difficult Dreamer- 4 The complete antithesis to "Franklin's..." Ethereal material, feeling like one that got away from Escape. A swirling acoustic track that feels like it begins to disintegrate as it goes along, swirling into the unease, ditching all the good will it once started out with. 

Bone of Contention- 3 Music for a motivational VHS video about feelings... but made by literal monsters. And there's a DJ!  Absolutely ridiculous, but addicting, and upsettingly catchy. 

The Gig That Won't Go Away- 3 A brief fever-dream cheerleader practice backed by a band while a UFO hovers above. The band takes advantage of the pedal board to lead us out in this short, sweet, strange trip. 

The Joke Is Over- 4 Is this the most heartfelt ballad hidden on a Circus Devils? Or is it bit of pastiche of a lounge singer in purgatory? Either way, fantastic vocal performance here over acoustic strums. A song that sounds like light peering through your blinds when you know you've only been asleep for less than 4 hours. Beautiful. 

Ferris Wheel- 3 Pulling out a bit of the Gringo vibe, this is another that could have fit somewhere on a Pollard solo track if not for Pollard's seemingly momentary stream of conscience about world news and baseball. 

Squeeze the Needle- 5 When that screaming shit came in the mix over this haunted bullshit... Fuck yeah! Incredible closing track! 

 

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!