I am now a year late in getting this written! Last summer marked the twentieth anniversary of the landmark 'Copper Blue' album from Bob Mould and his band at that time, Sugar. I really meant to write this as an ode to the album's twenty years of being awesome, but life and times being what they are, I didn't get it done.
If you are not familiar with Bob Mould, let me give you a crash course. The short version: Bob Mould was born in New York state, but his real impact and contribution on the American hardcore scene came after he went away to university, at Macalester College in Minnesota, USA. Mould, drummer Grant Hart, and bassist Greg Norton formed a little band called Hüsker Dü (Swedish for 'Do you remember?'). They became one of the most influential bands of the era, even alongside contemporaries like Black Frag and Minor Threat.
It was Hüsker Dü that introduced Mould's powerful wailing voice, and I was an instant fan. Fast forward several years, and Hüsker had broken up, Mould had cleaned up and released two powerful albums (as good as any Hüsker in my book) as a solo artist. 'Workbook' and 'Black Sheets of Rain' showcase Mould's musicianship (he plays multiple instruments on each) and his finely-honed songwriting. 'Workbook' in particular is a masterpiece.
It was in 1992 when Sugar released 'Copper Blue', and at first, I wasn't blown away or taken aback like I was the first time I heard Hüsker's 'Zen Arcade', but there was and is no denying that 'Copper Blue' was great, solid, pop-power-thrash rock from start to finish. It has longevity and relevance to this day, more than twenty years later, and was a definite sign of what was to come in heavy, punk-influenced music.
The opening notes to 'The Act We Act' give you a taste of what's to come. Chugging, fuzzed chords blend seamlessly into the melodic body, coming to forefront and fading back behind the vocals. Mould's grinding guitar and vocals definitely take centre stage, framed masterfully by his rhythm players. A quick note on Mould's vocals: I loved his voice from moment one, but I hear it's an acquired taste. The thing is, after Mould got off drugs and whatnot in the late 1980's, his voice got better and better. He hits notes that I didn't think he was able to on his solo stuff. He sounds just as good today as twenty years ago.
The second track, 'A Good Idea', is a story about a guy that drowns his date in a river. Musically, more of the same melodic cohesion, and nothing terribly original - it's the synergy of vocal, lyrics and playing that makes it good. Skipping over the equally good 'Changes' and 'Helpless', we come to 'Hoover Dam', which opens with a Beach Boys-like backward tracking (Think 'California Girls'). Acoustic guitar makes its appearance here, making this tune a lot more like Mould's solo work on 'Workbook' (his first solo). An almost proggy synth interlude, Mould's multi-tracked vocals, background backward tracks, all make this one of my favourites
Mould is, or was, a pretty private person, but one can glean from songs like 'The Slim' that he has a very dark streak and deals with tragedy pretty openly in his music, although the actual lyrics tend to be somewhat cryptic. He also happens to be gay, and 'Copper Blue' was released before Mould was outed (apparently accidentally). For me, it was pretty much like when Rob Halford of Judas Priest was outed; i.e. the worst kept secret ever...
'The Slim' is as dark as it gets on 'Copper Blue', but it is still pretty rocking, a little harder again, and vocally hearkens back to Husker, with Mould's angsty wail near the end. This song sounds to me like losing a loved one, and I imagine that I can hear real pain in Mould's voice. The next two tracks are the most radio-friendly on the album, the pop sweet 'If I Can't Change Your Mind' and fast, upbeat 'Fortune Teller'. These are tracks that, as a teenage thrasher, I would have scoffed at but secretly would have loved! This is Sugar for your wife/husband who thinks your music obsession is silly.
'Slick' is a plodding, slower paced tune, but is about a very serious automobile accident Mould had. It has an almost-psychedelic, roiling feel to it; almost dizzy. Lastly, 'Man on the Moon' wraps the album. It's slow and catchy, and almost has a 60's, Beatle-esque vibe in parts. It's very heavy on the tambourine at least.
Sadly, for Sugar at least, another album of the same quality was not in the offing, and Mould disbanded Sugar in the mid-1990's. For a while, Mould was working as a scriptwriter for the professional wrestling organizations here in the US, and was not making the type of music I love. Happily for fans like me, he didn't stay away long, and while there were some not-so-great moments on his albums, he came roaring back last year with 'Silver Age', which I find to be good from start to finish, much like 'Copper Blue'.
If you've made it this far, thank you! Now, what are you waiting for? 'Copper Blue' is a must-have for every serious music fan, and you should go and give it a listen, and then another listen.
