Author: Jason

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Robert Pollard-Mania! #91: BEE THOUSAND: THE DIRECTOR’S CUT

Guided by Voices
Bee Thousand: The Director’s Cut
2004, Scat Records

As we get further away from 2004, this triple-LP set may become more and more confusing for listeners.

I’ve heard people dissect Bee Thousand on recent podcasts and it’s normal for them to not know what to make of this other version of the album. It’s mostly different songs in a different sequence and some people (understandably) don’t get why it even exists.

Also, since it’s called The Director’s Cut, someone somewhere on the globe, now or thirty years from now, might wonder if it’s the REAL Bee Thousand and the familiar one was a compromise.

I’m going to explain as much as I can here. Or at least I’m going to tell my own best version of the story.

As of this writing, The Director’s Cut is long out of print. It’s an extravagant vinyl set that sells for collector’s prices so I don’t expect a Blade Runner situation, where new audiences don’t know what edition is most essential, but on the internet things can last forever and that’s a long time.

I try to stay away from predicting the future because I’m always wrong about it, but I can talk about the past. I was there. For some of it.

So let’s get into it. Let’s dig into the who, what, when, where, and why.

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Robert Pollard-Mania! #90: HALF SMILES OF THE DECOMPOSED

Guided by Voices
Half Smiles of the Decomposed
2004, Matador Records

And now an ending.

As you may know, this was the grand finale of Guided by Voices at the time. No more Guided by Voices after this. They were going out with an amicable break-up. Robert Pollard needed to move on. The news was everywhere. Maybe you read about it in Rolling Stone. Maybe you read it on some music news website or a message board.  Maybe you went to a record store in the autumn of 2004 and saw Half Smiles of the Decomposed snuggled in the new release racks with a sticker on the shrinkwrap straight from Matador Records that touted it as The Final Album.

If you were a fan, you likely felt an urgency to not miss out on The Electrifying Conclusion tour, which was a shorter tour than usual. No Europe. No Canada even. It officially began in August, wound its way through about two dozen reliable stops in the US, and had a hard ending. New Year’s Eve in Chicago.

The band whose show was always a party would end on the biggest party night of the year.

And then lights out. That would be it. So long, Guided by Voices.

Or maybe not.

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Frank Black-O-Rama! #20: DEVIL’S WORKSHOP

Frank Black and the Catholics
Devil’s Workshop
2002. SpinART Records

There’s only one good reason for a band to put out two new albums on the same day.

They want to get diverse. They want to show off how they can play chess AND execute a backward somersault. They want the world to hear that they can do two different things well without much time to catch their breath in between tricks.

Maybe they’re bragging, but if you’re a fan, it’s a lot of fun.

I had a lot of fun on August 20, 2002, when Frank Black and the Catholics put out two albums that lived in my car, in my CD player, and in my brain for years. I dragged my old CDs around everywhere. They’re a mess now. You won’t want to touch them without gloves.

Black Letter Days is an 18-track sprawler that’s built like a classic rock double record set. It’s indulgent and unapologetic about it.

The other one, Devil’s Workshop, does exactly what it should do, which is be the opposite. It lets the air out of the balloon.

It was recorded a few months after Black Letter Days and I recommend that you listen in that order for the full effect. Take in the epic first and then put on this shorter, sharper self-response.

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Robert Pollard-Mania! #89: FICTION MAN

Robert Pollard
Fiction Man
2004, The Fading Captain Series

April 24, 2004. Guided by Voices played The Bowery Ballroom in New York City.

Robert Pollard often gets chatty on stage and this night he spilled the news to the crowd that Guided by Voices were breaking up. It was the first public announcement. The people in that room got the scoop before any music journalist did.

One of the few bands out there that seemed incapable of ending without an act of God stopping them was closing up shop. It felt weird, but it made sense, too. Middle-aged people will understand.

Pollard went on to say that night that the final GBV album, Half Smiles of the Decomposed, was coming out in August with a farewell tour to follow. The last show would happen on New Year’s Eve and he promised that the band would go out grandly. Everyone was getting along. Past GBV lineups went down in drama, but this one would get a happy ending.

(If you want to hear that announcement, you can. A recording of it came out on Meet the King: Asshole 2, one of Pollard’s later “comedy” LPs composed of excerpts of his stage banter. The track is called “Blaze of Fire” and it still plays as a heavy moment today.)

A little over two weeks later on May 10, 2004, Pollard’s next solo album, Fiction Man, came out. The break-up news overshadowed it, but Fiction Man was the secret beginning of the post-GBV era.

One of the charms of Fiction Man in retrospect is that no one knew this at the time, including, I suspect, the two men who made it. Every Pollard solo record back then was different. They had different moods and different collaborators. In ’04, Fiction Man was merely more of that.

It was a batch of new Pollard songs, but this time played, arranged, and recorded by multi-instrumentalist oddball and fellow Ohioan Todd Tobias.

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Frank Black-O-Rama! #19: BLACK LETTER DAYS

Frank Black and The Catholics
Black Letter Days
2002, SpinART Records

Frank Black’s music is always annoying somebody.

When an artist makes Surfer Rosa and Teenager of the Year and Black Letter Days in a fourteen-year span, they might leave a few fans figuratively stranded at a few train stations. Not everyone follows.

Today, the brief Frank Black and the Catholics period (1998-2003) is well-loved among the deep-diggers. A new vinyl box set of their six formal studio albums is out and the reappraisals are glowing.

Twenty years ago though, when, for all that anyone knew, Black might make Catholics records forever, some people were over it after three albums. They weren’t into this classic rock sound. Maybe they were tired of the broken-heart songs. Others resented that the guy who launched his solo career with expansive studio visions not long ago was now hooked on recording everything live in the studio to 2-track tape like it’s 1963.

On the flipside though, plenty of us enjoyed it. For me, Black was my mutant Bob Dylan. The songs were stunners, but I also got engrossed in how he was building a body of work that would someday look like a bottomless well, full of phases and stages that sometimes conflict and that people argue over.

In 2002, Black and the Catholics moved at the pace of a band signed to Elektra/Asylum in 1975. A new album (or two) each year nearly. Then a lot of long road trips. They sounded like a classic rock band ready to launch their own Rolling Thunder Revue, yet they also had the discipline of a great 80s punk band who take a blue collar approach to the work. They’re ambitious, but not in a way that has anything to do with breaking big in the mainstream. They’re not even thinking about that. It’s more about honing a vision.

After four years of getting better at it, the eighteen-track lost highway of Black Letter Days sounds like what naturally emerges.

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Robert Pollard-Mania! #88: EDISON’S DEMOS

Robert Pollard
Edison’s Demos
2004, no label

When I wrote about Earthquake Glue six entries ago, I chose to not yet say a word about this limited vinyl-only LP of Robert Pollard’s solo demos of most its songs.

As sweet as it is, Edison’s Demos doesn’t add anything to my take on the album.

Also, the release of it came as a surprise the following winter. It got no advance announcement. It’s not a part of Pollard’s Fading Captain Series label (or any other label). Its artwork, which is almost as stark as a Jandek LP, makes it look like something that’s been sneaked out to the world in secret. In the tradition of past Guided by Voices live records, it presents itself as a bootleg.

So I decided to treat it that way, too. Edison’s Demos is something under the radar and from out of the blue. It’s something that you might miss if you aren’t paying attention. It’s something that no one was thinking about or knew was coming until it appeared one day in a puff of smoke.

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Frank Black-O-Rama! #18: PIXIES

Pixies
2002, SpinART Records

Almost nobody ever refers to it as their debut, but the first Pixies record is technically a self-released, small-press cassette nicknamed The Purple Tape. Whether copies made it to the racks of any cool Boston record stores back in the day or were sold at shows, I can’t say for sure, but this ambitious young band did send out stacks of them to record labels. (As of this writing, original copies of the tape command over $1,000 on Discogs.)

Its seventeen tracks represent everything in their arsenal circa early 1987. It’s all of the songs that they had finished, polished, and were playing in clubs. Sixteen originals and one cover of “In Heaven” from Eraserhead.

The 22-year-old Black Francis didn’t call these recordings demos. He wasn’t married to this cassette as a finished album, but the tracks themselves were ready for prime time. The band made them in a real studio (financed with a loan from Francis’s father) and, though they bashed them out in three days, they worked hard on them.

That’s when the 4AD label out of England enters the story and they liked the cassette, but they thought that an EP would be the best way to introduce the Pixies to the wider world. So, 4AD co-founder Ivo Watts-Russell selected eight highlights and that became Come On Pilgrim, the group’s really real debut.

That left nine unreleased tracks that became well-bootlegged over the years until they finally saw official release in 2002 on this starkly presented disc.

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FOR LOVE OF IMABELLE (aka A RAGE IN HARLEM) by Chester Himes

Chester Himes
For Love of Imabelle
1957 (1971 reprint, Dell Publishing Co.)

I’m convinced that most crime fiction stories could be re-written as comedies with little to no change to the plot. Both forms find their meat in irony, bad judgement, mismatched lovers, human weakness, and people who go to extremes to get out of trouble. Perhaps most obvious though is that both crime and comedy often involve an unholy mix of two types of characters: idiots and villains.

Put an idiot and a villain together and a powder keg can result. Maybe the villain manipulates the idiot. Maybe the idiot takes on the villain despite being outclassed in craftiness. Maybe the villain IS an idiot, but he’s still smarter than this other lowlife. What happens next might be funny. Or deadly. Or both.

That’s my theory, at least. Don’t test me too hard on it. I haven’t been thinking on it for twenty years. In fact, I didn’t think about it much at all until I read this brilliant, sleazy, violent, and often laugh-out-loud pulp novel from Chester Himes. It’s all about dangerous men, one shady woman, a city full of predators, and one hopeless fool at the center of it all.

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Robert Pollard-Mania! #87: EAT

Robert Pollard
Eat
2003, Rockathon Records

I’m curious to know when Robert Pollard figured out that he was a serious collage artist. If you’ve looked at nearly any record he’s ever put out, you’ve seen his work (the TVT albums are among the few exceptions) and you’ve seen it evolve.

The earliest Guided by Voices LPs have collage elements. Found clippings are a part of albums such as Devil Between My Toes and Self-Inflicted Aerial Nostalgia, but the compositions are primitive and the images tend to come off as truly random. They look like old punk rock show flyers. That’s a part of their charm, but as GBV got more famous, Pollard stepped up his art game.

By Bee Thousand he was playing with empty space, ultra-bright colors, and asymmetry. Throw in the lyric sheet on which each song is attached to a simple and memorable piece of imagery and the result is iconic and it doesn’t age almost thirty years later. If the rough, lo-fi music bothers someone, the artwork alone might persuade them to give it another chance. It both offsets and deepens the mystery.

Nine years later in 2003, Pollard launched an art magazine dedicated solely to his own work. He called it Eat and, as of this writing, there are seventeen issues of it, with more to come.

Collage art dominates most of them. Lots of poetry shows up in the early volumes. The presentation would get fancier over time (the latest issues of Eat are basically softcover books; they’re heavy with a thick spine). A few later installments come packaged with a 7″ record. Then there’s the oddball issue that’s all short, wry prose pieces by Pollard, telling stories from his past.

Eat is a full-color, psychedelic happening. It’s a place for the REAL deep-diggers. And it starts here.

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Frank Black-O-Rama! #17: (PIXIES) COMPLETE ‘B’ SIDES

Pixies
Complete ‘B’ Sides
2001, 4AD

I have a special respect for bands who put out good B-sides.

In fact, some days (every other Tuesday and the odd Sunday) I’d even say that the mark of a great band is the coolness of their throwaway tracks. The stuff that didn’t make the album. The stuff that they have laying around. The stuff that they cough up when the record company needs them to simply fill up some space.

B-sides are one of those fascinating aberrations of the old music industry. Ever since records started being pressed and sold, they’ve had two sides and even if one side was a surefire hit, you had to put something, anything, on the other side or you looked like an asshole. B-sides were space-fillers, but they were also sometimes a way to “share the wealth”.

For example, let’s say it’s 1961 and a group records a great song that the radio is sure to love. What about the B-side? Well, in many cases, the producer would hack out a goofy instrumental that nobody would ever care about (sometimes not even involving the A-side’s performers). The result was that if the A-side became a hit and sold a bajillion copies, the credited writer of the B-side benefited from that, too. in terms of royalties. They got a free ride into some big money. (See the likes of Phil Spector and Kazenetz-Katz, who were particularly brazen about it.)

That’s the seedy side of it all, but there are other sides. Like any good record, there’s always another side.

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