New Art Publications 76 : Archived from the original on Retrieved Archived from the original on September 30, Archived from the original on January 20, Retrieved 18 April Rolling Stone. Retrieved 3 December Still in Rock. March Retrieved September 8, March 5, Retrieved 22 April Retrieved February 9, The AV Club. Retrieved 16 July The A. My last two solo records and this new one I just did, I think, lyrically, are by far my best stuff.
I'm writing poetry and turning it into music now. A lot of the lyrics are really good; they're pretty strange and really cool. I've been having people come up to me at shows and misquoting lyrics, and I like that. People do these analyses of Guided By Voices lyrics; they like to analyze every little line as if it means something. And to me, it really doesn't. I write in this stream of consciousness, and it really doesn't mean anything until some time later.
O: Can you estimate how many songs you've written? RP: I've got thousands of songs. I'd say there are minute cassettes in my basement. We were combing through those and putting them on CD, and we weren't even a quarter of the way through one box before we counted unreleased songs. Most of them are terrible, and that's why they're in there. Some of them are not bad, though. I keep all the songs that got bumped from records, and if I ever need a bridge or an intro or a little lyric or melody, I go back to that catalog and get a little scrap.
They're good for that. Sometimes I'll grab a song and change it around and update it. O: With the line-up fluctuating so much, do some songs get lost in the cracks? It must be hard to make sure every member knows every song from every album. RP: We've practiced our asses off to try to get it together. We have a new bass player, so we had to teach him the songs. But we didn't have much time to get it together, so we probably only have about 50 songs we can play live.
I wish we knew everything, and I wish we could be programmed so we could do every song in the catalog. A band like Cheap Trick can do every song they've ever recorded, because it's the same band that's been together for years, so they know everything. But with my band, it's the 15th incarnation, you know? RP: I like it, but I still crave a solidified line-up, and I hope this is it. It feels really good right now.
It's nice to get a new band occasionally, but I really do want to have one line-up. O: Have you ever discussed a Guided By Voices best-of album? RP: We had an idea, and I don't know if it will ever see fruition, but our idea was to do the best of Guided By Voices, re-recorded by Ric or somebody. Especially if we have a couple hits from this record, then maybe it'll be a good time for some of the songs that should have been hits in the past to become hits, you know? It's a good idea, and if we do it next year, we'll call it Bee Two Thousand.
O: You've managed to incorporate prog-rock influences into indie-rock, something nobody else has ever tried, and you're proud of it. RP: When I first started doing interviews, and I first mentioned that one of my favorite bands was early Genesis, people were fucking amazed. They'd go, "How can that be? Selling England By The Pound is one of my top 10 records of all time.
I love that record. Chris Jones. The Verde version of the band takes a more experimental turn on "Portable Men's Society. Both this song and its follow up, "Little Lines," feature more targeted, sharper guitar solos than are standard for a Voices release.
She wouldn't let me buy a four-track. Musically, all I have to my name is a Harmony guitar that my brother gave me and a really cheap little solid-state tape recorder that my brother-in-law gave me. The whole lo-fi thing You can only go so far with lo-fi. You can only move the amplifiers around the room so many different ways and use so many devices and play on the side of the washer and dryer. You can only do that for so long.
I like the immediacy and I like the warmth of a lo-fi recording. When I started a band I wanted to make big, good-sounding rock music. It was never a conscious effort to say, "Let's be lo-fi. We're having fun and no one else likes it but we like it so we'll just keep it to ourselves.
John: And your wife wouldn't let you spend money on it. A bit uneven, even for a record bursting with uneven transitions, and surprises. A grower for sure, but possibly one too many twists and turns for its own good.
The "tiger on top" part scorches, though! Unfun Glitz - 3 Bottom heavy, crunchy with some potent Pollardian pipes. Perhaps a little too by the book at times, "Unfun Glitz" is above average at best song, but one that elicits a fist-raising response. The band is locked in, and pushes it over the top but like it just falls shy of the mark.
The same track returns for its proper LP debut, drummer Kevin March taking lead vocal duties. As proven in August By Cake , March as a downright killer voice. Beside that, this proves to be one of Pollard's most beautifully written songs. Anthemic, heartfelt, complete gorgeous melody. Travis Harrison's production combined with Gillard's guitar jangle, and March's tick-tock drumming in the verses , make this one of the great GBV moments of second reunion run.
Immortals - 5 A steadfast hard rocker that stays the course, building in the choruses. Guitar heavy with solid backbone and stiff upper lip attitude that never feels like posturing. A confident Pollard shines, sounding honest and potent, shooting from the hip. The repeat anthem outro is forcefully hooky below the surface, really standing as shining moment in GBV rock.
A true Circus Devils moment if you will. Pollard boom-box demo-like beginning with overdubs is downright haunting. When Pollard sings the title, it actually hurts. Unnervingly, this song leads out with downbeat stomping and unfettered guttural screams. Admittedly, I'm not much a rock opera fan so perhaps I come off biased during these moments.
However, "Sons of the Beard," really delivers. It feels like an amalgamation, a condensed recap of the entire record crammed into one song, riding on feeling and pure sonics alone. Fittingly, the song ends with the same chords that opened the record, an endless circle that is Sweating the Plague.
Thursday, October 24, Heavy Like the World 7'' Heavy Like The World 7''. Unlike some other singles of the reunion era that feature other GBV member's song, the B-side is a Pollard penned exclusive.
Limited to and released on black vinyl. Read review in link. Often, Pollard's turned to Gillard, Shue, and Bare Jr to contribute, including putting some excellent Sprout songs on B-sides in the past. This go-round, Pollard buried one of his own pure gems in one of the hardest to find spots. How this was left off the LP, I'll have no idea.
I guess it's just another small piece of building the legacy. Pollard sounds exceptional all around. When it's all over, it's nearly impossible not to move the needle back to the beginning. Hold On Hope [Promo]. It seems like 4, different EPs, singles collections, and promos exist for "Hold on Hope" and everything little thing ever possibly thought up for the LP Do the Collapse. I could spend 4 lifetimes reviewing all of the "Hold on Hope" radio remixes that were released off that record, but I won't I wrestled with even reviewing this, but decided what the hell Without any further ado, possibly the last of the missed GBV officially released songs I have overlooked on this site?
Found another? Drop a line. Is this basically one of the best GBV songs ever. Released on this UK only single along with "Hold on Hope" and "Perfect This Time," this remains the strange, lone place to hear this track.
Is it essential? Is it the same as the version on Wish In One Hand Maddeningly, of course it's not. If anything, this MAY be the best version? Monday, August 19, Loose Shoes Loose Shoes. Are you fucking kidding me?Guided by Voices formed in the early s and released dozens of albums and hundreds of songs during their career. Known for their short, catchy British Invasion inspired pop songs and unique lyricism, the group had a wide influence on indie/alternative music despite never having a major hit or achieving mainstream success.