In a moment of gay abandon I thought I would actually write up my choice from our last meeting. It appears that life has got ahead of us and, whilst we still meet up (occasionally), our blog has seemed to have stagnated to the point of ossification. But, seeing as I am gearing up to going back to work next week and, as a result, I am going to be spending an inordinate amount of time tapping away on a keyboard – when I started out, I thought teaching would be about…teaching (how naive I was!) – I thought it would be a good idea to get a bit of keyboard tapping practise in. So, here goes…
I took Sugar’s Copper Blue to the last meeting. I took it because it’s brilliant.
In fact, and I feel a bit disloyal writing this, I am increasingly of the opinion it’s the best thing Bob Mould has ever done. This is not something I would have ever admitted at the time, but over the years Copper Blue has become the undeniable choice from the ‘catalogue of Mould’ as far as I am concerned. In fact it’s also, for my money, one of the best rock albums of the 90s by anyone, its writhing, swirling melodic lines built for longevity and exploration..in stark contrast to some of the more heralded yet straightforward LPs that were covering similar landscapes at that point in time.
In comparison to Mould’s previous work in Husker Du, Copper Blue pounds its way through its 45 minutes, the tinny, trebbly production of New Day Rising and Flip Your Wig transformed into an irresistible melange of thundering drums and relentless bass, overlaid (most of the time) with Mould’s trademark guitar squalls and reverse solos. As a result the album exudes a warmth that was only hinted at on The Husker’s last two records and wasn’t really evident at all on their output prior to their move to Warner Brothers. And, in my opinion, Mould’s song writing is at its zenith on Copper Blue, ten tracks of peerless quality, from the ominous minor key riffage that opens The Act We Act, to the gloriously uplifting exit of Man On The Moon and pretty much everything in between. In fact, as a thought experiment, try supplanting any of Mould’s Husker Du tracks for a song on Copper Blue and it would only serve to weaken the album…that’s how good it is!
Pointing out highlights seems superfluous but I’m going to have a go…
‘A Good Idea’ is a Pixies’ song in all but name but, as if he’s pointing an accusatory finger their way, Mould seems to be saying, ‘Look, I invented this stuff and I can do it really easily and really well and…here’s a song that’s just as good as Debaser or Gouge Away or Where Is My Mind and it’s not even the best song on the record!’ ‘Helpless’ recalls Mould’s previous power pop triumphs when in his former combo (Makes No Sense At All, Could You Be The One), but with generous lashings of extra pop. ‘If I Can’t Change Your Mind’ harks back to The Byrds circa I Fell A Whole Lot Better and ‘Slick’ kicks up a maelstrom of noise all snarled vocals and reverb and anger.
However, my two favourite cuts on the album, and as a result, my two favourite moments in Mould’s entire canon are the aforementioned The Act We Act and side one’s epic closer Hoover Dam. The two seem to me to be two sides of the same coin, both tracks weaving an intricate path through light and dark; minor and major keys being used to accentuate the release and keep the listener guessing, even after riding the beast for the 100th time. They are astonishing songs on an astonishing album in an astonishing career and if Bob Mould ever goes on to better Copper Blue, he will have produced a work of such unimpeachable quality that ‘rock’ as a form of popular music may as well consider itself truly dead and buried.
Or maybe that’s what Copper Blue did all along, it was just that none of us realised it at the time!
Steve Listened: It was great to revisit this album. I had forgotten how truly great it was. It also helped me unlock his latest solo album (‘Patch the Sky’) which I played at “full tilt” all the way home that night. I’ve also been re-playing Copper Blue a lot so thanks Tom – made me feel 20 again!