DOUG GILLARD OF GUIDED BY VOICES
Seminal, institutional, defining and instrumental. All accurate words to describe alt legends Guided By Voices (GBV) but still woefully understating what the Ohio outfit have contributed to the indie scene. Nearly forty years of unrelenting musical offerings, the quality releases still rolling off the GBV production line are as sharp and well-crafted as the day Robert Pollard and his lads opened shop. Speaking with long term guitarist and musical savant Doug Gillard, Musicology discovers first hand some insights into their latest record and significant moments throughout their storied history.
Their 33rd album to date titled Earth Man Blues (in a John H. Morrison Production of) and when asked about the title Gillard explains, the notion "imagine, if you will..." Earth Man Blues could be a rock musical. Even more simply put John H. Morrison was the name of the elementary school Pollard attended. Although simplicity is the beating heart of GBV with their short, eloquent and punchy tracks. The hallmarks they have come to be known for and that simplicity belies a creative and collective genius that appears to have no end.
It is hard not to overstate the influence and driving force that Pollard has on the band when someone as accomplished in his own right as Gillard, constantly refers to the processes through which all GBV work is derived, starts with and ends with Pollard’s stamp. In chatting with Gillard it is evident to see how Pollard the great orchestrator is the sphere of influence that creates the entire GBV universe. Be it writing, recording or that of production it all bears the seal of approval by the man behind it all.
When considering the writing for the album and that of GBV many albums over past four decades, it is a wonder if the records contain within them a long running commentary on social, political and human change. Yet as Gillard details “Bob has never waxed all that political in his lyrics, but there are slight references peppered in here and there, and one can find commentary regarding animals, factory farming, and the environment in our (GBV) and his solo records from the last 15-20 years.” Such a long history together and equally extensive back catalogue begs the question, are the lyrics encapsulated within the records a diary of sorts for the band? For Gillard it “isn't quite that autobiographical. There are personal observations and occasional references to things, but usually conveyed in a veiled or metaphoric way.” This is an insight to understanding the dynamic between Pollard and Gillard in how they each write but it goes without saying in regards to the band being a chronicle “the concept of remembering certain life events around album recording experiences, then that is the case for sure. If I think of a past album title I worked on, it usually puts me in the mind of what was going on in my life or our lives at the time.”
On the musical front “It all starts with Bob and his basic demos: vocals and guitar chords. From years of helping interpret his songs, I know the basic chord shapes he uses, and we try to stay true to those going in to record. He also gives us production notes with each new album, so we can best achieve what he, as the songwriter, is going for.” Unsurprising considering the gravity Pollard holds within the band but that can never detract from the skill and synchronicity that comes from Gillard and the band in interpreting and laying down classic track after classic track.
Truly a testament to the seemingly endless well of inspiration that peculates from within GBV Gillard describes how that creativity is captured and channelled. “Speaking for Bob, I know he has always written down ideas and word combinations since before I knew him. He's always thinking creatively, and also tries to keep himself visually stimulated by surrounding himself with imagery when he is writing. A method that inspires lyrical ideas from imagined situations, locations, and atmospheres.” It is this optical arousal that filters through to another area where Pollard holds sway as not even the art work for the band slips past his watchful gaze. “Bob designs & creates the artwork for all our covers, and has done so since he started the band. The vast majority are collages he does himself, and some are photos he has the idea for, and then has taken. Or maybe it’s a photo he has found and he likes for the album. There were a couple albums that the record labels we were signed to at the time, would have their art director design. The cover of Earth Man Blues was one that Bob custom designed to fit our "musical production" concept, and we've had promo posters made up to look like official Playbills.”
Sometimes you have to look backwards to see forwards and to understand Doug’s influence in the band one must first acknowledge where it all began. “I started in a band called Suspect Device that played a lot of punk, originals and covers. It helped me get some stage legs and Death Of Samantha came together after that. I had a band called Gem after that, and Cobra Verde evolved out of Death Of Samantha.” When questioned as to what ways playing outside GBV has helped perform within GBV, it is a cumulative process for Doug. “I think every step of playing I've taken has informed the next one. There's never an end to learning when it comes to making music. I find it fun to revert back to ways I played long ago, only with a bit more wisdom. Maybe play with more restraint, or when writing, have intro sections not last near as long as I would've then.” A sage remark when considering the width and breadth of the musical journey Gillard has taken in his life.
A career as long and Gillard’s and that of GBV isn’t one that too many bands can say that they have enjoyed. So many albums, so many experiences and so many tours. Yet there are always highlights and memorable events so when the topic of touring is raised and which particular shows have been remarkable for Gillard, it starts with Nada Surf “we were among the first shows at the re-opened Le Bataclan (Paris) after the attack, and that was a pretty moving experience. My solo band once opened for Alex Chilton which was a pretty wild experience for me, but one that really stands out is when GBV played in Rome in 2003 in the plaza near Stazione Termini, the main train and bus terminal. The Piazza Dei Cinquencento is huge, completely outdoors, and stray dogs were cavortin', barkin' & fornicatin' in the plaza as we walked on. We saw the crowd grow from a small number to hundreds, then 1,000+ as the set went on. Very memorable. Any puppies conceived that night would now be 16 or so.”
During his time in GVB and that of his other outfits, there have been many words of wisdom spoken to Gillard. Some that are nifty tips such as “In the 90's, someone showed me how to use the rubber rings from Grolsch bottles as guitar strap locks” and others in the technical space as “I learned from Ric Ocasek that your first take at a lead or solo may be the most natural sounding one, and you won't best it. That happened when we tracked the song, "Hold On Hope" and I thought I was recording a rough example. On the other hand, I've gotten so that if I don't like a take that I record here myself or with our producer Travis, I erase it and don't keep the take around. It forces you to just get a good one.” All of these moments coalesce into the aspects that alter a career but culminate into a decade’s long musical life. “On the experiential side, music gives me a sense of escape and atmosphere. On the creative side, to be able to impart, say, a sense of longing through a guitar chord or string arrangement, or to convey detachment or jubilant energy, is a great feeling, or it feels great to at least strive for those results.”
The book on GBV is far from being finished written and Earth Man Blues is but one more chapter in the tale of a band whose impact is notably large yet just how far that ballooning influence has still to expand, remains uncertain but fittingly exciting.
