Guided By Voices
Mag Earwhig!
Label:  Matador Records 
Date:  5/20/1997
Length:  0:00
Format:  CD
Genre:  Rock; Alternative
  Category:  rock
    Track Listing:
      1.  
      Can't Hear The Revolution    
      2.  
      Sad If I Lost It    
      3.  
      I Am A Tree    
      4.  
      The Old Grunt    
      5.  
      Bulldog Skin    
      6.  
      Are You Faster?    
      7.  
      I Am Produced    
      8.  
      Knock 'Em Flyin'    
      9.  
      Not Behind The Fighter Jet    
      10.  
      Choking Tara    
      11.  
      Hollow Cheek    
      12.  
      Portable Men's Society    
      13.  
      Little Lines    
      14.  
      Learning To Hunt    
      15.  
      The Finest Joke Is Upon Us    
      16.  
      Mag Earwhig!    
      17.  
      Now To War    
      18.  
      Jane Of The Waking Universe    
      19.  
      The Colossus Crawls West    
      20.  
      Mute Superstar    
      21.  
      Bomb In The Bee-Hive    
    Additional info: | top

      When the subject of Guided by Voices arose in a rock chatroom, someone remarked, "They're practically classic rock these days." I'm sure nothing would please GBV prime mover Robert Pollard more. A common misconception is that today's musician is hung up on "breaking new ground," seeking that untapped vein that will keep him or her munching at the trough of plenty for the next three or four records. It would be far closer to the truth to say that most folk trying to earn a living the indie rock way ("Send for our training video today!") are looking merely for an uncrowded train car to which they can quietly hitch their cabooses. Pollard makes no secret of the fact that he's a musical archivist, more interested in rekindling rock history's divine moments than in keeping his finger on the erratic, racing pulse of today's youthful consumer--inevitably leading to a glut of corporate-coated, disposable bands like Collective Soul, Bush, and Silverchair. The first two tracks on Mag Earwhig seem intent on clearing the record while updating us on Pollard's personal musings. "Can't Hear The Revolution," the first cut, somewhat distances Pollard and the so-called "lo-fi" movement, a nebulous assemblage of DIY homeboys with four-track recorders that he certainly helped to establish credibly (and will never completely abandon). "Sad If I Lost It" is a song about music making as both obsession and salvation, which explains why Pollard puts out as much of his endless catalog of tunes as possible; instead of waiting out the peaks and valleys of a long career, he'd rather unload the whole bundle while his creative engine is still in racing fettle. Many of the GBV faithful are up in arms over Pollard's decision to drop his long-standing backup band, which included Toby Sprout and Mitch Mitchell on guitars as well as drummer Kevin Fennell. While he continues to record and compose with Sprout (and his brother Jim Pollard), Cleveland's Cobra Verde have stepped in as Pollard's new rock & roll wrecking crew. The additional muscle and skill these fellows wield is evident on big anthem rockers like "I Am A Tree" (written by Cobra Verde guitarist Doug Gillard), "Not Behind the Fighter Jets" and "Jane of the Waking Universe." These three numbers along with the first single "Bulldog Skin" (a song about his love of British pop music) indicate Pollard's return to his '70s trash and treasure, incorporating the can't-miss, ringing power-pop coils of catchy ancestors like Badfinger, Big Star, Dwight Twilley, and the Raspberries. The best example of Cobra Verde's noisy eclecticism bonding with Pollard's pop horse sense comes on the 1:23-minute gem, "Mute Superstar," which starts out like an early Wire guitar cruncher, then opens a sunny window for some Beatles psychedelia. He gathers those lovely acoustic ballad bits abundantly about him, the finest being "I Am Produced," a quickie about putting your life on record, and the wistfully McCartney-like "Now To War." In the end, most critics judge any new Guided by Voices product by its ratio of heavenly pop to Pollard's noodly abstractions, and so Mag Earwhig keeps up with past masterpieces like Bee Thousand and Propellor. Yet there is more afoot here than ear candy, as Pollard breaks in a talented new supporting cast while traveling back to the clarity of times when popular music didn't suck. The present musical climate dominated by unbearably bland bands and useless electronica, Pollard's journey through the past is a blast of forward thinking. --John Chandler