This was interesting re the recording process:
Initially recorded with celebrated engineer and musician in his own right, Steve Albini (Big Black, Shellac, Rapeman), much of the LP was said to be recorded at his famed Electrical Audio in Chicago (several tracks were recorded in other locations including Dayton’s Cro-Mag Studios,Pollard’s stomping ground). It is then said to have been taken back to Dayton, and remixed on 4-track to give it a grittier, lo-fi aesthetic the band had now become known for.
Steve Albini was probably the most in-demand producer in the business by the mid-90s, so it was a real coup for the band to secure his services at that time. I wonder what he made of his recordings being deliberately fucked with in a murky Dayton basement afterwards
I really don’t like Cut Out Witch
Great song IMO, love those ominous opening chords especially.
Really great Peel session from this period
Here is a fantastically shambolic rendition of Cut-Out Witch from the Austin City Limits sloshfest in 2004. By this point in the evening Pete Yorn had staggered onstage to join in proceedings for a few songs.
Acorns & Orioles is gorgeous
Imagine hearing the very throwaway early Don’t Stop Now on King Shit and the Golden Boys in 1995, and then hearing it transformed into an absolute all timer a year later
Giving Under The Stars… another spin right now. Reckon this is going to be competing with Propeller for 2nd place on my leaderboard, just a superb album.
btw what was the score with the Kim Deal situation? Did Bob outright fall out with her, or was it just a mundane “sorry but this isn’t quite working” situation? Sounds like they were pretty close friends at one point.
It’s really good huh? The previous two albums had higher highs, and obviously the odd little interludes were part of the fun, but this is probably the most consistent GBV album; every song is pretty much as good as the next, except for Don’t Stop Now, which is an absolute classic. Take To The Sky is probably the weakest track but even that works as a ramshackle coda after Redmen And Their Wives.
You can tell that Bob was starting to refine the GBV sound on this one, still plenty of lo-fi stuff but now sitting alongside lots of clearer-sounding mid-fi tunes as well. A process which was still ongoing during the Mag Earwhig! era too.
This could’ve been released as a single IMO.
I know I’m re-treading old ground again, but listening to this album just makes me wonder again about how GBV didn’t manage that big breakthrough hit single around this time, because holy fuck the songs are 100% there. I know the counter-arguments re sound quality/the age of the band etc, but for example R.E.M. were releasing some pretty unconventional stuff during this period and were enjoying big success in terms of radio-play/chart placings etc
I somehow got the special edition CD in around 2007/8. Was still new and included a second CD with the ‘Tigerbomb’ EP and some extra songs. This meant I had a tracklist that was thirty-three songs long on my iPod!
- Man Called Aerodynamics
- Rhine Jive Click
- Cut-Out Witch
- Burning Flag Birthday Suit
- The Official Ironmen Rally Song
- To Remake The Young Flyer
- No Sky
- Bright Paper Werewolves
- Lord Of Overstock
- Your Name Is Wild
- Ghosts Of A Different Dream
- Acorns & Orioles
- Look At Them
- The Perfect Life
- Underwater Explosions
- Atom Eyes
- Don’t Stop Now
- Office Of Hearts
- Big Boring Wedding
- It’s Like Soul Man
- Drag Days
- Redmen And Their Wives
- Take To The Sky
/1. My Valuable Hunting Knife
2. Game Of Pricks
3. Mice Feel Nice
4. Not Good For The Mechanism
5. Kiss Only The Important Ones
6. Dodging Invisible Rays
7. Delayed Reaction Brats
8. He’s The Uncle
9. The Key Losers
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we’re getting into the longer album era, but nothing else really averages above 45 mins (apart from the two double albums up ahead …)
Doesn’t drag once.
Except on ‘Drag Days’.
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Really like Look at Them on this first listen
It’s like soul man is a big stupid banger