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 Daytonās Cro-Mag Studios,Pollardās 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
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.
Imagine hearing the very throwaway early Donāt 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 Starsā¦ 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 āsorry but this isnāt quite workingā situation? Sounds like they were pretty close friends at one point.
Itās 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 Donāt 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.
I know Iām re-treading old ground again, but listening to this album just makes me wonder again about how GBV didnāt 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 āTigerbombā 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
Donāt Stop Now
Office Of Hearts
Big Boring Wedding
Itās Like Soul Man
Drag Days
Sheetkickers
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. Heās The Uncle
9. The Key Losers
