Bob Mould

Certain Songs #117: Bob Mould – “The Descent”

February 25, 2015 by Jim Connelly

Album: Silver Age.

Year: 2012.

The sound of an artist rediscovering his muse. No doubt emotionally rejuvenated by the the self-examination required for writing an autobiography and artistically rejuvenated by the formal declarations of love and influence by other artists that culminated in the “See a Little Light” tribute concert in 2011, Silver Age was Mould’s greatest album since Sugar’s File Under: Easy Listening.

I didn’t want to play the song
That gave people so much hope
I turned my back and turned away
Here’s the rope that made me choke

As it was with Sugar and the Hüskers, Bob is working in the power trio format, a formal signal that he knew it was once again time to return what he still does better than anybody else on the planet. So backed by Jason Narducy on bass and his best drummer since Grant Hart, the incomparable Jon Wurster, “The Descent” just explodes with punk noise and pop melody.

God, I hope it’s not too late
Can I try to make it up to you somehow?
Can I try to make it up to you somehow?

Of course, as someone who has had countless hours of pleasure derived from Bob Mould’s music, he doesn’t really have to make it up to me – or any of his fans – but gods, I love that he thinks he has to try.

He could literally put out one of these records every few years for the rest of our lives and I’d be happy. Or he could never do it again, and I’d be happy.

Official video for “The Descent”

My Certain Songs Spotify Playlist:

Every “Certain Song” Ever

Certain Songs #116: Bob Mould – “All Those People Know”

February 25, 2015 by Jim Connelly

B-side to “See A Little Light” single.

Year: 1989.

I’ll admit it: I’ve always had more respect than love for Bob Mould’s Workbook album. In theory, I wasn’t against his turning the volume down and doing a more acoustic record: after all, ongs like “Hardly Getting Over It” and “Too Far Down” were highlights of Candy Apple Grey, so it was clear that he could pull it off, and many many folks think that he did. But not me.

Which isn’t to say that Workbook isn’t a very good record, it’s just that give the amazing run that Hüsker Dü went on during the mid-80s, “very good” just wasn’t good enough. And I guarantee that at least one person – maybe every person – who reads these words will violently disagree with me. And you know what? You’re probably right.

It’s just that the Bob Mould that I love, that had a lifetime pass by the time either of us turned 25, is the guy who writes the great pop songs with the amazingly loud, sustainy guitar. That exquisite combination of melody and noise that changed everything. And that’s why this b-side was so important.

While it’s impossible to know if “All Those People Know” would have been a highlight on whatever the next album by the Hüskers would have been (and of course, it still wasn’t as great as “2541,”), to me it was like Bob saying to his fans “look gang, Workbook was just something that I needed to do, but I can still – and will – play to my strengths and kick out these great punk rock tunes on a dime.”

Which is why, in subsequent years, whenever he did anything that went away from his core strengths, I just enjoyed the bits that I enjoyed – even his “electronic” record has some great songs – and waited for him to circle back to what he did best. Kinda like Neil Young.

Video for “All Those People Know”

My Certain Songs Spotify Playlist:

Every “Certain Song” Ever

Bob Mould Sees The Light

November 22, 2011 by Jim Connelly

Bob Mould, of course, has had a lifetime pass since the second Sugar album, and to be honest, he’s probably had it since January 1987, when Hüsker Dü released Warehouse: Songs and Stories.

Warehouse was the fifth album they’d released since September 1984, so it was the culmination of 2 1/2 years where they’d gone from being just another name buried in the morass of hardcore bands listed in tattered, second-hand fanzines to being one of my favorite bands in the universe.

That said, in all of the years, I’d only ever seen Bob Mould perform once, at the Warfield in San Francisco on Sugar’s File Under: Easy Listening tour. Unlike R.E.M and The Replacements, the Hüskers never made it Fresno, and there was never quite the right social buzz around them to have the same road trips that spontaneously seem to organize themselves around The Smiths or U2.

Besides, Hüsker Dü was going to last forever. I’d have plenty of time to see them!!

Medialoper Bebop Episode 23: Zen Arcane

November 18, 2011 by Jim Connelly

This week, Tim, & Jim and a very yelly Kirk tackle the following subjects:

First, in a brand-new segment entitled “Explain it to Kirk,” Tim & Jim explain the Twilight phenomenon to Kirk. (3:35 – 8:50)

Then, it’s reported death of the Compact Disc, which — according to some reports — is going to be abandoned by the major labels as soon as the end of this year. (08:53 – 18:00)

Here’s the chart we’re talking about in the podcast:

Also, iTunes Match has been launched, and we debate whether or not it’s worth shelling out $25.00 a year for. The answer may surprise you, though probably not if you’ve ever listened to our podcast. (18:13 – 26:10)

Once again, Medialoper Bebop Commissioner Gordon Loper harasses us with a phone message. And to spite him, you should probably follow us on Facebook. (26:11 – 28:07)

Finally, it’s a very deep look at a very deep album, Hüsker Dü’s landmark Zen Arcade, as it is inducted into the Medialoper Bebop Great Albums Hall of Fame. (27:22 – 47:58)

Podcast: Play in new window | Download (Duration: 54:47 — 75.3MB)

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Medialoper Bebop Episode 22: Time Change!

November 9, 2011 by Jim Connelly

This week, Kirk, Tim and Jim are reeling from the ramifications of the reversion back to Pacific Standard Time, so there are fewer topics, but more digressions!

First, a look at Amazon’s Kindle Owners Lending Library, and what it might mean for the Publishing industry, and you, the Consumer. Yes, you!! (07:20 – 21:00)

A voicemail from Commissioner Loper leads to a plot to capture Jay Fung, who still doesn’t know that he’s been mentioned on nearly every single podcast for the past couple of months. (21:02 – 23:00)

Then, a Musical Moment to Die For: The Dream Syndicate – Then She Remembers. (23:02 – 25:02)

Finally, Jim reveals his amazingly simple 21st Century plan to fix the problem of Daylight Saving Time, something that has been publicly affecting our lives since at least 1983. (25:03 – 33:32)

Here’s what’s in Jim’s mix this week: John Doe, Deer Tick and some rare Smiths. (33:33 – 37:54)

All that, and commentary from our special guest, Siri!!

Podcast: Play in new window | Download (Duration: 47:18 — 65.0MB)

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Subscribe to us in the iTunes, yo!

20 Musical Moments to Die For

January 23, 2009 by Jim Connelly

Somewhere underneath all of that hair is Neil Young. This month, on Musical Moments to Die For: secrets, influences, and secret influences, all book-ended by the two best bands to ever come from Athens, GA.

We’ve also got the front-runners for greatest guitar and organ solos ever; Neil Young’s most despairing moment; and not one, not two, but three variations of the beat solidified by the late, great Ellas McDaniel.

As always, I’m not necessarily talking about hooks here, more like traps. The parts of these songs that bring me back to them over and over again.

This is the sixth in a series: The first one had 25, the second one had 24, the third one had 23, the fourth one had 22, the fifth one had 21.

And yeah, you probably see the pattern and think you know the endgame, but I can promise you that there’s a twist!