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The main shortcoming of this book is right there in the title: "A Brief History" of one of the longest-lived and most storied bands of indie rock is by definition going to be inadequate, at least to the obsessive fan, and obsessiveness is one quality that Guided by Voices fans are known for. Granted, a complete history of GBV would have to be positively encyclopedic in scope, and the author does an admirable job living up to the title without omitting any essentials. Besides, completist fans have plenty of other resources to turn to for the arcana they crave. The book was penned (mostly, as I'll explain later) by veteran rock scribe and one-time GBV bassist Jim "James" Greer. Greer's semi-insider status gave him a high level of access to GBV mastermind Robert Pollard and many others in the extensive GBV circle (although not Greer's own ex-wife and one-time GBV collaborator Kim Deal, which I'll mention again in a moment).
Readers looking for juicy gossip absolutely won't be disappointed: Bob speaks frankly about some very personal subjects. He's had broken friendships with Kim Deal and GBV "Manager for Life" Pete Jamison, and a broken marriage (his ex-wife is also named Kim; notably, neither Kim participated in the making of the book). A few of Bob's physical scuffles are detailed, with opponents including bouncers, his brother, Urge Overkill road crew, and Ted Leo. There's plenty of discussion, and plenty of defiant rhetoric from Bob, about his legendary drinking habits. Readers will also get the scoop on the comings and goings of GBV's many, many members over the years, including the "Guided by Verde" Mag Earwhig!-era lineup (where GBV briefly consisted of Bob and the members of fellow Ohio rock outfit Cobra Verde). Insights like these into the more troubled, maligned-by-critics eras of GBV history are some of the most worthwhile parts of the book. As another example, the section dealing with the Do the Collapse album, including interviews with producer Ric Ocasek, gives some reassuring perspective to fans who might have been put off by the band's abortive grasp at the slightly bigger time.
Bob is the primary interview subject, of course, but Greer gets some very candid interviews from others inside and outside the band as well. The most significant contributions come from guitarist Doug Gillard and record-label chiefs Robert Griffin and Gerard Cosloy. Sadly, there's a disappointing lack of input from some early, "classic lineup" band members, particularly Tobin Sprout, who appears only briefly, and the mysteriously missing-in-action Mitch Mitchell. Drummer Kevin Fennell's turns through the addiction-and-recovery cycle supply a Behind the Music-style subplot.
Another topic of particular interest—and I give a lot of credit to both subject and author for speaking to it—is the matter of money, detailed right down to dollar figures in some instances. Money is usually a taboo subject, and yet it is so important in the life of a band (as it is in life in general) that the inclusion of these financial details makes for a much more complete and relatable story.
Of course, the story of any band is inseparable from their geographic and socio-economic background, and this is particularly true in the case of GBV. The band deliberately made their background an important part of their identity, especially in the early years, and as far afield as Bob's talents have taken him, he's always stayed close to his roots. Accordingly, the early parts of the book vividly set the scene of Bob's upbringing in working-class Dayton, Ohio. Before any other band members are introduced (aside from Bob's brother Jimmy), Greer spends some time recounting anecdotes about Bob's hometown inner circle, known as "the Monument Club." This colorful cadre of working-class drunks is an important part of GBV lore and has provided lyrical grist for Bob's songs for many years.
In the chapter titled "Science," which is mostly in Bob's own words, he provides enlightening song-by-song comments on the lyrical content of selected tracks. The book also includes a handful of Bob's poems, three vignettes written by Bob's now-grown son Bryan, and recollections and appreciations from the likes of weirdo rock critic/Bob collaborator Richard Meltzer and Cheap Trick's Bun E. Carlos. The back pages of the book are made up of appendices containing an extended and extensive discography, band family tree, and gigography. In their sheer total volume of paper (100+ pages, almost 1/3 of the book), these sections are a testament to the depth of GBV's history and output. The book lacks an index, though, which would have been helpful.
To Greer's credit perhaps, he barely even mentions his own brief tenure with the band, content to remain a footnote. Maybe one personal anecdote might have been nice, though. Greer does take some other liberties, airing some of his own musical opinions in no uncertain terms when the opportunity arises, with zingers aimed at Urge Overkill, The Presidents of the United States of America, and others. As a writer, Greer has some tics which, if I were his editor, I might have tried to rein in. For example, he occasionally resorts to a cliché, but then tries to excuse himself by making a joke of it. He also indulges in some flagrantly convoluted sentences which can be hard to follow. And he sounds like he was partaking of some "Far-Out Crops" (to borrow a Pollard song title) as he concludes the book with some spaced-out, grandiose statements that strain for some kind of larger significance. Mostly, though, his informal, occasionally snarky style suits his subject matter.
The legacy of GBV is built almost as much on legend and lore as it is on their music. This is something the band has known and cultivated in its own playful way since the beginning. This book, while far from comprehensive, serves more than adequately to put the seal—in the forms of both a stamp of verity and a coffin nail—on those stories. (mike.02.06)
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