Who names an album Life and Times? What a pompous, egotistical piece of…oh, wait. It’s Bob Mould. Bob Mould from Hüsker Dü. Bob Mould from Sugar. Bob Mould who’s been continually writing great songs since the early ‘80s and is now a big gay DJ. Alright, I’ll let it slide. I guess he’s allowed to take a look back at his life and rehash—after all, he’s a founder of not only one of the best bands in hardcore but also a pioneer of independent music.
Not that those things mean a lot to everyone. Despite the fact that he helped rock music take the giant step from the Ramones to Nirvana, he’s not exactly a household name. I’ve been to Minneapolis and I almost started a fight with the Hard Rock Café bartender after she said, “Who?” when I asked where the Hüsker Dü memorabilia was.
Mould is a modest guy and downplays his impact on rock music. Indeed, he’s looking forward and not back these days, concentrating on writing and performing new material.
“Now I’m back in the craftsman era, where it’s really important for me to write stories,” he says, “I’m not trying to change the world, I’ve tried, I’ve done my part. I’m just a craftsman and I’m happy with that.”
After Hüsker Dü’s demise, Mould wasted no time putting out a solo album, Workbook, 20 years old this year. Since then he’s released eight more solo records and a number of albums with Sugar. Despite all that, Life and Times—out April 7— uses the same focused songwriting as Workbook while paying tribute to the guitar-driven hardcore of his earlier bands.
In a way, the songs wouldn’t be out of place in the latter days of Husker Dü. “Argos” and “MM 17” are not far from the pop-punk of Candy Apple Grey, and the solo on “Wasted World” is the best Mould guitar shredding on record since 1986. On the softer side, there’s the revealing “Bad Blood Better” and acoustic ballad “I’m Sorry, Baby, But You Can’t Stand In My Light Any More.”You’ll sing along, but your cheeks will be wet by the end.
At the end of the 10-song album, on which Mould plays every instrument except drums (thanks to Superchunk’s Jon Wurster), you could feel sorry for how things turned out.The final track, “Lifetime,” is a dark electronic look at Mould’s bittersweet experience in music. He ends repeating the line, “That’s the lifetime we have.” It’s a great summing up of an album that looks back without trying too hard.
Give it a chance. Don’t let first impressions get the best of you.The cover and the title of Life and Times makes you think it’s just a throwaway pop album from some conceited has-been who used to be in a sort-of-famous band; but it’s not like that.
Even in his live show, Mould continues to push boundaries. He recently joined LA-based art punks No Age As for a live show, and in his own concerts he still plays songs that span his entire career. Well, not necessarily including the electronic stuff. For that, you’ll have to go to a Blowoff Party.
If Mould is holding a guitar, though, it’ll be a damn good show; for one half of the set you’ll hear songs from Life and Times; and the other half, you’ll get to hear work from the life and times of the great man himself.
> Bob Mould
April 8 & 9, Joe’s Pub, 425 Lafayette St. (betw. Astor Pl. & E. 4th St.), 212-967-7555; 7:20, $20.
