Author: Jason

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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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Robert Pollard-Mania! #86: HARDCORE UFOS: REVELATIONS, EPIPHANIES AND FAST FOOD IN THE WESTERN HEMISPHERE

Guided by Voices
Hardcore UFOs: Revelations, Epiphanies and Fast Food in the Western Hemisphere
2003, Matador Records

Around 2001, a rumor blew in the wind that a new Guided by Voices box set was in the works from John Fahey’s Revenant Records. To my memory, the plan was to collect the elusive and out-of-print mid-90s 7″ EPs in one place (finally!) with some mysterious extras. Revenant had just made a big splash with a lavish 5-CD Captain Beefheart rarities set, Grow Fins, along with a vibrant catalog of lovingly reissued old blues, folk, and jazz. The prospect of them working with GBV and maybe presenting them in the context of weird Americana was exciting.

That box set never happened, but another box did happen on Matador Records a few years later. Were the Revenant rumors true? I don’t know, but I do wonder if Hardcore UFOs ascended from its ashes.

It’s a six-ring circus celebration of Guided by Voices, partly from a Matador perspective. It’s NOT a collection of the old EPs (that were released by a variety of labels, which makes gathering them in one place complicated legally), but it does neatly collect many non-album moments and a lot more.

In the big picture though, the five CDs, one DVD, and great liner notes of Hardcore UFOs take their own unique shot at telling one of the oddest success stories in American indie rock.

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THE PRISONER #8: Dance of the Dead

(November 17, 1967; director: Don Chaffey)

This episode confused me the first time I saw it, to be honest. There’s a character who shows up at the very beginning who becomes pivotal later, but I somehow forgot him and ended up scratching my head over a few twists here.

I blame my public school education.

In my defense though, this IS a particularly odd installment. It begins with a scene that feels like it’s from the middle of an episode, as a mad scientist (Duncan MacCrae) gets stopped in the midst of an experiment on Patrick McGoohan’s Number Six that pushes the limits of The Village’s strict rule to get information from him without hurting him. From there, the plot walks us into a trap door every five minutes or so until we’re not quite sure where we are. Everything that happens is strange and so many details feel like non-sequiturs that the whole thing can feel like a non-sequitur.

Until the bleakness of it sticks to your ribs.

It’s not the tightest plotted hour of British televison of 1967, but it did come together for me on a second viewing and emerge as another nicely creepy psychological attack on McGoohan’s stoic former secret agent and his seemingly unbreakable resolve to not reveal a word of his secrets.

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Robert Pollard-Mania! #85: THE BEST OF GUIDED BY VOICES: HUMAN AMUSEMENTS AT HOURLY RATES

Guided by Voices
The Best of Guided by Voices: Human Amusements at Hourly Rates
2003, Matador Records

With such an enormous body of work to ponder, a discussion breaks out every now and then among fans about whether or not Robert Pollard is a genius.

What inspires all of this stuff? And what keeps some of us so interested in it? Why am I buying five new albums a year from this guy?

It’s a big thing to wrap your head around, but, to me, genius is the least interesting answer to those questions. I much prefer to credit the work that lead up to the mad skills. The years of filling up notebooks and cassettes and singing to the void. Writing bad songs. Writing good songs. Writing bad songs that became good songs in their final versions, sometimes rewritten decades later. Being obsessed enough to independently press up six records from 1986 to 1992 even though no one was paying attention. Using his obscurity wisely.

Genius is abstract and intimidating, but hard work is concrete and inspiring.

Obviously there are certain blessings from the universe that all of the hard work in the world may never achieve. A compelling personality. Interesting tastes. A listenable singing voice.

But if Pollard is a genius, I think his genius is his rare energy that keeps him going even when everything else tells him to stop. Pollard’s work is full of lessons on creativity and inspiration and if I had to boil it down to a single idea, that’s it. Don’t stop. Get old doing it. Beat your head against the wall. Keep doing it even when your band falls apart. It’s not about success or failure; it’s about trying again and again. Keep going and maybe you’ll write your masterpiece eventually. How many great songs aren’t in our lives because some young artists couldn’t stand the world’s indifference and gave up?

That’s what I think about when I listen to this crazy Best of that attempts to gather the highlights of the strangest, messiest, and most improbable indie rock watershed band to rise to prominence in the 90s… and then refuse to stop.
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