Saturday, October 17, 2009

The Pixies: Dig For Fire


Garychching over at Always Searching for Music recently solicited for readers' favourite Pixies song, Without thinking much I typed out "Monkey Gone to Heaven" and clicked post comment. Then a wiser Longy from Punk Friction chimed in with, 'Today it's "Debaser". Of course, it always shifts, settling on on final favourite Pixies song is like trying to nail Jell-O to the wall. Perhaps today I'll choose a less obvious song.


The Pixies we're never 'my' band. The alterna-types a couple of years younger than me (the ones who thought the Church were revolutionary and bought everything on 4AD whether it was the Pixies or Dead Can Dance) adopted them. However, one of the aforementioned altera-types lent me a cassette of Surfer Rosa and I remember listening to it on my Walkman as I walked to her house down the dark streets of North Kildonan. When that voice barked, "You touch my stuff you fuckin' die" I whirled around dead sure someone was gonna knife me. It took a few seconds for me to realize it had been on the tape. But that tape held more such shocking moments not the least of which was "Gigiantic" with it's transfixing juxtaposition of noise and melody in a way that must have pleased Hüsker Dü if not necessarily Peter, Paul and Mary.



Now "Dig For Fire", from 1990's Bossonova, makes up what it lacks in shocking newness with breath-taking intricacy. The song is anchored by a a fascinating central metaphor (for his love of twisted morality tales, Frank Black's the Flannery O'Connor of rock n' roll). Of course what holds us is the finely detailed melodic structure, not just that unforgettable chorus but those huge layers of guitar which are by turns surf-y, distorted and stuttering, which is as resplendent as a Gothic Southern mansion.
(As a bonus here, you get another surf instrumental, a fine cover of Neil Young's "Helpless" and "Santos" which sounds, well, like a Pixies B-side.)












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Friday, October 16, 2009

Grant Hart: 2541


So while Mould's solo debut came after Hart's, it seems that in the divorce settlement that Mould got to keep the cultural cache that Hüsker Dü had built up. Hart's solo career did began with brilliance but he soon stumbled and has never fully re-gained his footing.



Surprisingly, considering how he'd referred to Mould's late period Hüsker Dü work as "square", Hart's debut is even more more sensitive singer-songwriter fodder than Mould's! "2541" is however, a moving song of loss with a fittingly mournful melody. The fine lyrical details and the the swelling chorus make for the perfect eulogy for the Hüskers. It's blatantly autobiographical but unsentimental and it contains many a stinging line like, "It's probably not be the last time I'll have to be out by the first". While "Come, Come" is a respectable, if a bit duff, "Let Go" is the dreaded "funky B-side" which is, as it always must be, a real low point in the entire artist's discography.


{MRML readers leave a comment: Who's first A-side, Mould's or Hart's, was better?}


Download 2541 single

{Thanks to the incredible Hüsker Dü Database for help with this post.}

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Thursday, October 15, 2009

Bob Mould: See A Litle Light


When Hüsker Dü split over innuendo about drugs, suicide and selling out, the members found themselves in terra incognita. After all they began the eighties as a hardcore band on indie SST Records before becoming a major label college rock band in the mid-eighties and finally ending the decade as solo artists. (Well Bob Mould and Grant Hart became solo artists, Greg Norton went back to the kitchen.)


Mould sobered up, got a new record label and sequestered himself in a farmhouse to write the gentler-but-not-kinder songs that would become Workbook in 1989 . Workbook's folk-rock sound, with its prominent cello and acoustic guitar, found critical acclaim but no more commercial success than Hüsker Dü. This problem prompted a re-think for Mould's next solo outing (the results of which in turn prompted an even greater re-think; Mould's a re-thinking kinda guy.) Whether you fully embrace this slightly more pastoral album or not (and it's surface calm is deceptive), it's not hard to believe that "See A Little Light" is one of the most gorgeous songs he's ever written.



Besides the luscious pop of the title track, this e.p. contains the more Hüsker Dü-ish, "All These People Know" as well as a rawer live take on the album's "Compositions for the Young and Old" and Mould's blistering live version of Richard Thompson's "Shoot Out the Lights".






{Thanks to the incredible Hüsker Dü Database for help with this post.}

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Wednesday, October 14, 2009

Hüsker Dü: Ice Cold Ice


1987's "Ice Cold Ice" was the final single from the psychedelic pop-punk double L.P. Warehouse: Songs and Stories. The song, with it's lethally incessant vocal hook, is yet another of Mould's distorted confections. Sad to say, Mould can toss off a melodic rocker like this just too damn easily for his own good, which can sometimes result in one song bleeding into the next (see the totally unavailable B-side "Gotta Lotta" as a possible example). Of course Hüsker Dü bled its last here and, twenty-two years later, their corpse is unlikely to rise from the dead.



(Here's the official video for Warehouse's first single, "Could You Be the One").








{Thanks to the incredible Hüsker Dü Database for their help with these posts.}

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Tuesday, October 13, 2009

Hüsker Dü: Could You Be the One?


Hüsker Dü went down fighting. While they broke up under toxic levels of acrimony after 1987's two L.P. set, Warehouse: Songs and Stories, the album is a unified victory (the writing credits are split evenly between Hart and Mould) , with twenty gloriously distorted pop songs left standing like sonic memorials.



"Could You Be The One?" was a fine single but Hart's "She Floated Away" could also have been one, if Mould hadn't got the A-sides of both of the album's singles. This 12" also has a rare Greg Norton composition, the rocking "Everytime", as well as another Hart psych-pop jangler, "Charity, Chastity, Prudence and Hope", making this a most democratic single.







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