Customer Reviews

The Last Dog & Pony Show

5 star:		(10)
4 star:		(13)
3 star:		(5)
2 star:		(1)
1 star:		(4)

 

 

Some people are never happy. When the last Sugar album, FU:EL, came out, they said Bob sold out. Then he puts out the uncommercial, ultra-personal Hubcap album and they said he's too dark. So he goes back, more or less, to the Sugar formula and they say he's uninspired. The guy can't win. He's been fighting various public opinions since Husker Du broke up, and for the most part, I think he's done a pretty good job of sticking to his own vision, regardless of what fickle Amazon reviewers think.

Sugar fans will find plenty to devour here from "New #1" (a clone of "The Act We Act" from Copper Blue), "Classifieds", "Moving Trucks", and "Sweet Serene", all of which easily could be leftovers from the Sugar era. All fantastic stuff, though I prefer the quiet-to-loud, angry "Who Was Around?" and "Skintrade", awash in swirling guitars and vocals (imagine Brian Wilson producing My Bloody Valentine). Definitely two of his better songs, no matter what Bob era you consider. And the more acoustic numbers "Vaporub" and the stunning "Along The Way" remind us Bob doesn't have to yell all the time to make good music. Didn't anyone here buy Workbook?

Now, not everything here works. "First Drag Of The Day" wears on you after repeated listenings and "Megamanic"... What can I say about "Megamanic"? I guess the best thing to say is that Bob's entitled to go off on his own from time to time. I think he's earned it. But, really, it just isn't good. It's the virtual definition of a b-side. Then again, Bob said "Megamanic" basially saved the album and if this truly is what saved The Last Dog and Pony Show, then God bless "Megamanic".

Not his best album, but definitely worth your time.

Bob Mould is through with the classifieds. He's also done making electric guitar music, deservedly so after doing it so splendidly for many years. Though it's an electric beast at times, "The Last Dog and Pony Show" is a bit tamer than past Mould work and does nothing to reinvent the wheel. The energy on this album sort of comes and goes, and in some spots it comes off as a bit like business as usual -- but that's forgivable. "Dog and Pony" is a surprisingly "hit-oriented" album, quite accessible yet lyrically personal in many spots. In fact, some of the slower acoustic tunes begin in an adult contemporary-sounding fashion, before that textured rhythm guitar properly kicks in. The crystal-clear acoustic guitar work that Mould has become known for is always a treasure to hear, but it's his wall-of-sound electric guitars that often get things cooking in the right direction.

From the start, tunes like "New #1," "Moving Trucks" and "Taking Everything" display Mould's intense self-introspection in dealing with life and relationships gone bad. These songs remind you that, lyrically, Mould is always ambitious. His vocals, meanwhile, are as satisfingly blustering as the enveloping guitars that surround him. Undoubtedly, this is what addicted me, and so many others, to Mould's sound during the early 1990s and before that. "First Drag of the Day" and "Classifieds" have that sweetly melodic Sugar sound so reminiscent of the early '90s. "Skin Trade" features grandly strummed guitar chords with accompanying sad lyrics. Nothing, however, tops the driving "Sweet Serene," one of the best songs Mould has put out, musically and lyrically, a song that truly reflects his personality and ability to grab listeners.

Perhpas one song tops "Sweet Serene," though. That would be the beautiful final track, "Along the Way." With a properly placed, heartwrenching cello, a sparkling acoustic guitar with edge and Mould's unflinching lyrics, this is truly a great tune. Not that Mould's integrity was ever in doubt, but the lyrics of "Along the Way" only enhance that feeling. Though Mould does things his own way, he also recognizes people and feels a lot of pain and confusion around him. "Along the Way" is a universal tune that should be played for anyone who wants to live in a more honest world. More honest with each other, more honest to those around us. To Mould, it seems that being true to yourself and displaying the utmost integrity is ultimately the name of the game. If he truly does go strictly acoustic after this record, it will be hard to top songs like "Along the Way."

Oh, come on Californian music fan, you can't be hearing the same cd i've been listening to for the last 6 months. This cd easily matches Copper Blue and beats the somewhat leaden Black Sheets Of Rain hands down. Moving Trucks, Who was Around and Skintrade are classic Mould tunes. Its so good to hear him having fun after the dour, harsh soundscapes of the 'hubcap' cd and the way Moving Trucks shifts up a gear for the insistent refrain at the end reminds me why Bob Mould is my all-time favourite songwriter/performer. Hopefully his plans to go down a more acoustic road in the future will bring us another masterpiece like Workbook but in the interim this will do just fine.

This CD starts with a bang. "New #1" is a thumper of an acoustic catharsis track and "Moving Trucks" bristles with the same energy of days of lore. It gets lifted one last time with "Reflecting Pool". Everything else runs together.
Pick it up though....those tracks will leave you slackjawed.

The reviews of this one are all over the map. I think this is a strong album from Bob. He has done about all one can do in his art-form, which is, heavy folk-rock (sorta). "Workbook" was my introduction to his work and I have enjoyed all but the previous, "hubcap" album. I have been impressed with his ability to remain "Bob Mould the musician's musician". His popularity is relatively low, but he is always there, performing and writing with skill and grace. Sure this album is not "new" but as he goes on to his next "thing" he leaves an album that nicely summarizes his contribution to no-pop, non-commerciallized, loud (well recorded), emotionally-charged music, period.

If you loved Sugar, this is the CD for you. I think that these are terrific power pop songs, and few artists do it this well.Don't ever begrudge this man his desire to branch out; there are a few surprises here.However, there is great joy to be found throughout this disc, so I suggest you indulge yourself.

This wonderful album strikes an amazing balance between the melodic Workbook and the ear splitting crashing chords of Black Sheets of Rain. There is definately something here for every Bob fan, great melodies, crashing chords, all included with Bob's wonderful sardonic wit. Bob says that this is his last "conventional" electric album, i.e. with guitar, bass, drums (look at his website... or check out the interview disc, included with some LDAP albums. I'm sure he'll return to the electric stuff at some point down the road.

I've come to the conclusion that while "Last Dog" may not contain Bob's best songs ever, it is his best album ever, as a whole. He's never suceedded more in balancing out the different aspects of his work. This album is solid and consistent from top to bottom. "New #1," of course, is just incredible, but I think "Moving Trucks" is even better. Put this one on headphones and go for a brisk walk, you'll see..."Taking Everything" is another classic, great melody, unforgettable hook, great words. "First Drag" is a funky tune that offers a hint of where Bob might be going, he's never done anything like this before. "Classifieds" shows that can still turn out great pop songs that can rock hard and tug at your heart strings. "Who Was Around?" is full of remorse, anger, and pain...just the things that make Bob rock out! This track is fabulous. "Vaporub" and "Sweet Serene" only get better, and by the time "Reflecting Pool" rolls around it should be obvious that Bob's never been better. "Along The Way" is a haunting and reflective closer that will leave fans on the edge of their seats, wondering what's in store..."I hope where I end up will be worthwhile." Whereever Bob ends up, he can be sure that his fans will gladly go with him.

Unlike Mould's last self-titled "Hubcap" effort, "The Last Dog & Pony Show" seizes my attention from the opening song. Bob with a cello? You bet, and it works quite well on the haunting "New #1". This disc seems to be the most radio receptive of Bob's recent solo career, plenty of hooks and catches, yet he fails to let down true Mould fans with his typical trademark introspective, parable centered lyrics. Matt Hammon's drumming on this record adds the necessary element to make each song fully satisfying, a void filled as the result of a spartan drum kit on Hubcap.

If the opening riff of "Skintrade" evokes similiarities to the Foo Fighter's "There Goes My Hero," give Bob the benefit of the doubt. Dave Grohl, though a younger and more successful pop punker, is still merely the evolution of what Bob created years ago in Minneapolis. Grohl writes catchy songs and videos that make money on MTV but we do not see the brilliant storytelling and consistent inventiveness and ingenuity that Mould achieves album to album.

Therein lies the artistic freedom Mould enjoys; "Hubcap" may have been much more satisfying for him to make than "LDAPS" but this effort will surely sell more copies. It doesn't make any difference to him, he writes how he feels, but "LDAPS" certainly will relate to both hardcore and new Mould fans quite a bit more. Longtime Mould fans respect all of what he has produced in the past, but if we have to see him fade out into the sonic night, this is how we want to envision it.

At the end of "Vaporub" he writes: "Wouldn't want to make you think you haven't found a way to me..."

He certainly makes that case in The Last Dog and Pony Show. This is as inviting as Bob Mould will ever get, so don't miss the oportunity to crash his small bandwagon why you still have the chance.

From his work in alternative rock innovators Husker Du, through the more radio-friendly Sugar, and four solo albums, Bob Mould has touched on the best of punk, folk, power-pop and modern rock, influencing countless artists in the process. Dave Grohl is one of his most famous fans, and its hard to imagine the Foos without Husker Du having existed. This 1998 album was his last fully-electric one before a long hiatus, recently ended with soem electronic dabblings.

Its a respectable but unspectacular signoff. It starts quite well with New #1, a strangely addictive acoustic number which lacks a chorus in the traditional sense, but packs some punch as it builds. Taking Everything is the highpoint, an obvious single with a catchy refrain.

Skintrade also stands out, as does Classifieds, with its cynical analysis of looking for a partner in classified columns. Like all Bob's songs about relationships, the lyrics aren't gender-specific, due undoubtedly to Bob being perhaps punk's first openly gay star. There is a more sensitive string-laden Along the Way to close, but less impressive are by-the-numbers tracks like Moving Trucks and Vaporub.

Although not bad, and worth ahivng in the collection, it can't be recommended as a starting point. Try Sugar's Copper Blue for a poopier sound, or Bob's self titled solo album, but for the real Husker Du deal, it has to be New Day Rising.