Hüsker Dü "Warehouse: Songs and Stories" (1987)

Warehouse: Songs and Stories
release date: Jan. 19, 1987
format: cd (1992 reissue)
[album rate: 4 / 5] [4,22]
producer: Bob Mould & Grant Hart
label: Warner Bros. - nationality: USA

Track highlights: 1. "These Important Years" - 2. "Charity, Chastity, Prudence, and Hope" - 3. "Standing in the Rain" - 5. "Ice Cold Ice" (4,5 / 5) (live 2012) - 7. "Could You Be the One?" (4 / 5) (live) - 9. "Friend, You've Got to Fall" (4 / 5) - 10. "Visionary" - 11. "She Floated Away" - 12. "Bed of Nails" - 14. "It's Not Peculiar" (4,5 / 5) - 16. "No Reservations" (5 / 5) - 17. "Turn It Around" ( 4 / 5) - 18. "She's a Woman (And Now He Is a Man)" (live) - 19. "Up in the Air" (5 / 5) [ cover by Heidi Berry ]

6th and final studio album by Hüsker Dü follows only 10 months after Candy Apple Grey (Mar. '86) and was originally released as a double vinyl album produced by Bob Mould and Grant Hart who practically divide the writing credits between them - 11-9 in Mould's favor on the total of 20 tracks, but with a more equal share by the two than earlier (according to Grant, Mould made sure there he maintained a 55/45 % advantage in the numbers of songs represented by the two). Prior to the recording sessions Hart was both diagnosed Hepatitis C and HIV-positive - the latter diagnosis proving incorrect after the band split in '87.

The style is not far from what is found on Candy Apple Grey. Perhaps this is less folk rock-inspired and focusing more on alt. rock and power pop with some links to the near past of punk rock. The album has always been my favourite by the band, and to me, this also shows Mould as the more harmony-founded and Hart as the more complex songwriter of the band. Tensions between Mould and Hart had long led to increased tension - some suggest that Mould could no longer accept Hart's drug addiction - others that Hart proved to be Mould's equal and challenged Mould's role as leader. Fact is, the band dissolved at some point during its '87-tour, while Hart was undergoing methadone-treatment. The album received wide-spead acclaim and it's the only Hüsker Dü album enlisted in "1001 Albums You Must Hear Before You Die". Three singles were issued to promote the album: Track #7 and track #18, followed by track #5.

After the split, bassist Greg Norton stopped as a musician and concentrated on a life running a restaurant business for the next two decades after which he returned to music in 2006 in the band The Gang Font. The two songwriters continued their individual careers in music. Grant Hart released his solo debut album Intolerance (1989) and then founded and continued in the band Nova Mob for two album releases before again returning to a solo career. Bob Mould released two solo albums Workbook (1989) and Black Sheets of Rain (1990) before forming the trio Sugar for three album releases after which he also returned to a solo career.

[ allmusic.com 5 / 5, 👎Rolling Stone 3 / 5, 👍Q Magazine 4 / 5 stars ]

1987 Favourite releases: 1. The Smiths Strangeways, Here We Come - 2. U2 The Joshua Tree - 3. Hüsker Dü Warehouse: Songs and Stories

Hüsker Dü "Candy Apple Grey" (1986)

Candy Apple Grey
release date: Mar. 1986
format: cd (1992 reissue)
[album rate: 4 / 5] [3,84]
producer: Bob Mould, Grant Hart
label: Warner Bros. - nationality: USA

Track highlights: 2. "Don't Want to Know If You Are Lonely" (4 / 5) - 3. "I Don't Know for Sure" (4,5 / 5) - 4. "Sorry Somehow" (4 / 5) - 5. "Too far Down" - 6. "Hardly Getting Over It" - 7. "Dead Set on Destruction" - 8. "Eiffel Tower High" - 10. "All This I've Done for You"

5th studio album by Hüsker Dü follows the recipe of Flip Your Wig with Bob Mould and Grant Hart as producers and for the first time now they approach an equal share in the writing credits with 6 - 4 in Mould's favour. The album is the band's first on a major label, and with this they demonstrate the conflict between Mould and Hart as the songs appear as individual representations rather than the end result of their combined forces. For the first time in the band's history Hart really challenges Mould as the band's most prominent songwriter - an issue of debate, which may have led to the band's dimise only 1½ years later. On the predecessor, Mould manifested as a songwriter with an ear for melody structure and Hart locked on making something contrary, whereas Hart here proves his worth on the same arena.
The style has evolved slightly to a broader profile with clear folk rock references, especially heard on the Hart compositions (tracks #2, #4, #7, #9), but with its energetic power pop alt. rock, or college rock, it's also a clear reference to artists of the later grunge rock movement.
With Candy Apple Grey and via their new label they reach a larger crowd and they succeed in holding on to their characteristic sound while producing their best-sounding album to date. So once again, the band moves some steps up the ladder and simply launches its so far best album.
Highly recommended.
[ allmusic.com 3,5 / 5, 👍Rolling Stone, Q Magazine 4 / 5 stars ]

Hüsker Dü "Flip Your Wig" (1985)

Flip Your Wig
release date: Sep. 1985
format: cd
[album rate: 3,5 / 5] [3,65]
producer: Bob Mould, Grant Hart
label: SST Records - nationality: USA

Track highlights: 1. "Flip Your Wig" - 3. "Makes No Sense at All" (promo-video) - 4. "Hate Paper Doll" - 5. "Green Eyes" - 6. "Divide and Conquer" - 11. "Private Plane"

4th full studio album by Hüsker Dü released only eight months after New Day Rising introduces the two dominant forces in the band, Bob Mould and Grant Hart as album producers. The album contains 15 tracks of which Mould is credited as songwriter of 9 and Hart of the remaining 5.
With the two vocalists and songwriters as producer-duo, the sound has now improved. Stylistically, the album continues a style of primarily alt. rock and power pop with links to punk rock, or simply: post-hardcore, although, the punk rock element seems further and further away, and what remains is basically one of the finest examples of sources to the initial grunge movement in the early 1990s. For the first time around, Mould and Hart almost share the writing credits - Mould is credited nine, Hart five of the fourteen tracks - not as partners, and not even as co-writers, but more as individual contributors. Hart delivers folk rock and singer / songwriter political and more experimental and introspective material, whereas Mould here outbeats Hart on strong harmony structures, energy and choruses with catchy tunes.
Without being great, this is clearly the band's so far best album, imho.
[ allmusic.com 5 / 5, Rolling Stone 4,5 / 5 stars ]

Hüsker Dü "New Day Rising" (1985)

New Day Rising
release date: Jan. 1985
format: digital
[album rate: 3,5 / 5] [3,42]
producer: Hüsker Dü, Spot (aka Glen Lockett)
label: SST Records - nationality: USA

Track highlights: 1. "New Day Rising" - 3. "I Apologize" - 4. "Folk Lore" - 6. "Celebrated Summer" - 8. "Terms of Psychic Warfare" - 11. "Books About UFO's"

3rd full studio album by Hüsker Dü. The album may not be as daring experimental as Zen Arcade (1984) but it's the first album where I hear what is unmistakeably Bob Mould harmonies - just listen to "I Apologize". The band is the same trio of Mould, Hart and Norton, only this time Mould has written eight out of fifteen and is co-writer on another four tracks. Three of the tracks are written solely by Grant Hart. Compared to the 84 double album this clearly takes a firm direction of punk rock and alt. rock glued together by power pop. The fact that Mould has established himself as the musical composer of the band is a highly infectious point of discussion. Hart and Mould were both lead vocalists as well as writers, but unlike the broader musical output on Zen Arcade this reflects Mould's dominant role within the band - something that ultimately led to arguments and may even have been a primary conflict leading to the future split.
However, so far, this is the band's best effort, although, the production sucks, being poor and murky.
[ allmusic.com, Rolling Stone 5 / 5 stars ]

Hüsker Dü "Zen Arcade" (1984)

Zen Arcade
release date: Jul. 1984
format: digital
[album rate: 3 / 5] [3,22]
producer: Hüsker Dü, Spot (aka Glen Lockett)
label: SST Records - nationality: USA

Track highlights: 1. "Something I Learned Today" - 3. "Never Talking to You Again" - 8. "Beyond the Threshold" - 11. "The Biggest Lie" - 15. "Somewhere" - 17. "Pink Turns to Blue" - 20. "Whatever" - 22. "Turn on the News"

2nd studio album by Hüsker Dü continues where Everything Falls Apart (1983) ended, although, there's a clear introduction to something pointing to a stylistic change away from the British hardcore punk sound and to what should later be referred to as alt. rock. After the studio debut the band released the 7 track ep Metal Circus in '83, which was more as its predecessor. Despite clearly punk rock-fused on Zen Arcade, the speed has slowed down and the tracks consists of something one may describe as post hardcore. The track lengths may not reveal the general impression of compositions that have been slowed down - and some are definitely not without high energy - but the overall focus is somewhere else than just hurling away at maximum speed. There are elements of art punk and noise rock, more evidently than on the predecessor, but there are also tracks of acoustic folk rock and neo-psychedelia. The original issue was a double vinyl album with a total of 23 tracks. Where Bob Mould took responsibility of the songs on the debut, this one still has his signature on 18 of the tracks (12 exclusively written by Mould alone) - this offers more space for songs written entirely by drummer, vocalist and pianist, Grant Hart and / or all three together. Hart is credited four tracks without Mould or Norton (the latter being cowriter on four).
I never fell for the style on this - not back in the 80s - nor when I rediscovered the band's early stuff in the 90s, but I have to admit that it's quite original - and dated, Yes! But with a very sharp and highly original style that is anything but 'just' noise. It's dark, angry and sinister but there are multiple layers to sink into. I can't really say that it's bettering the debut, as it in a way restarts the mission of the band, pointing to many paths to walk after this, but having grunge rock nearly a decade further up the road, this is at least a source it all leads back to.
Note: track #23 has a running time close to 14 min, which exceeds the remaining tracks (except 1) by more than 11 min.
[ allmusic.com 5 / 5, Rolling Stone 4 / 5 stars ]

Hüsker Dü "Everything Falls Apart" (1983)

Everything Falls Apart [debut]
release date: Jan. 1983
format: digital
[album rate: 3 / 5] [3,18]
producer: Hüsker Dü and Spot (aka Glen Locket)
label: Reflex Records - nationality: USA

Track highlights: 1. "From the Gut" - 2. "Blah, Blah, Blah" - 5. "Afraid of Being Wrong" - 6. "Sunshine Superman" - 8. "Everything Falls Apart" - 12. "Gravity"

Studio debut album by the American trio Hüsker Dü released after the first full-length release, the live album Land Speed Record released exactly one year earlier. The band was formed in Minneapolis in Mar. '79 and consists of Bob Mould on guitar and vocals, Greg Norton on bass and backing vocals, and with Grant Hart on drums and vocals. This is American hard-core punk, which only had a little in common with the early stages of what became known as punk rock, meaning 1976-77. Hüsker Dü is one of a few dominant bands of the genre when speaking of the American version of hardcore punk, which included Black Flag, Bad Brains, D.O.A., Circle Jerks, and Dead Kennedys. The UK scene included bands like The Exploited, Charged G.B.H., Subhumans, Crass, Anti-Nowhere League, One-Way System, and UK Subs, but the two scenes were not identical. The American scene was a primary source and link to noise rock, which more or less evolved at the same time, and that may be heard on this album. I recall being interested in the British scene, which had more evident roots in traditional punk rock with some focus on harmonies, chorus-lines, political subjects, and with the addition of intensified energy. A few bands with Crass as the extreme forerunners were on the edge of punk making highly political music with bonds to experimental art rock and rock satire, which was labelled anarcho-punk - and this only really happened in the UK, whereas the American artists more or less concentrated their energy in playing with speed, high-voltage energy and anger as driving forces - rebelling with either nihilism or what resembled 1960s anti-war protest-songs engagement, and not seldom as a huge (strange) mix of founding inspiration.
Everything Falls Apart is however, also one of a few albums that closes the gap between American and British hardcore punk. Listening to Subhumans, The Exploited and One-Way System this has an equal expression of harmony structures and short-lived tunes build on guitar-chords and wry statements.
I rejected this as too much noise for my liking. My first experience with the band was Zen Arcade from 1984, and that didn't do much for me like the band's last releases, which failed to my appeal. At the time, I thought, this was just a matter of playing fast, running wild with energy, and with too little diversion. Today, I actually enjoy some of the tracks from this. It has it's moments and moreover: it's quite evident how the band became a source to other styles and genres, including grunge, but also how close this was to noise rock and American alternative rock, which helped giving birth to bands like Pearl Jam, Nirvana, and Red Hot Chili Pepper - all of these seem unthinkable without Hüsker Dü in this incarnation.
"From the Gut" is a great, simple, but original starter, which points to music by Pearl Jam and Red Hot Chili Peppers. "Blah, Blah, Blah" and perhaps even more "Bricklayer" are fine examples of music bonding with chanting chorus lines from the UK scene, experimental 'art rock' by Frank Zappa, Dead Kennedys, and Nirvana at the same time. The production sound is... of course on the low side of things but that's how it is with the genre. "Punch Drunk" (30 secs of distilled raw energy) could easily have thought made by Crass, The Exploited, Charged G.B.H. of the British scene, or by Dead Kennedys. Most songs are written by Bob Mould and one track "Sunshine Superman" is a cover of a track by Donovan, however, here highly transformed. The original album issue has a total playing time of just above 19 minutes making it a rather short long-player. In '93 the album was reissued as Everything Falls Apart and More on cd with seven bonus tracks including the band's first two singles.
[ allmusic.com, Rolling Stone 3 / 5 stars ]