Photo shoot for the Guided By Voices album ‘Sandbox,’ 1987. (Courtesy: Robert Pollard)
Robert Pollard, majordomo for Guided By Voices and a host of other projects, isn’t just a prolific songwriter, with over 2,000 published tunes; he’s also one of the best. Pollard’s greatest songs are up there with the finest rock-n-roll ever committed to wax. I’m convinced the Dayton, Ohio, native will one day be called an “national treasure,” but for now, he’s a cult artist with a fanatical following that gobbles up everything he produces—which includes over 100 albums. But it was a long road to respectability and success for Pollard. It would be years before very many people heard Guided By Voices, and along the way, nearly everyone close to him said he should quit fooling around with this music thing.
One of Bob’s early, pre-Guided By Voices undertakings was dubbed Acid Ranch, an endeavor that also included future GBV members Mitch Mitchell and Bob’s younger brother, Jimmy. The trio recorded stealthily in Bob’s basement studio, which he named “the Snakepit.” They had the freedom to do whatever they wanted—both musically and otherwise—and shit did get wild.
Acid Ranch is a key element in Robert Pollard’s development as a songwriter, but it hasn’t been recounted in much detail. That’s about to change with the upcoming biography, Closer You Are: The Story of Robert Pollard and Guided By Voices. Dangerous Minds is happy to have the Acid Ranch section of the book to share with you.
“The most interesting, spontaneously creative, and psychotic, moronic thing we did, we labeled Acid Ranch,” Bob recalls. “You know, secretly. In the lab.” It was the secret part that allowed them to experiment so freely. “Acid Ranch was fearless and ridiculous, because we knew no one would ever hear any of it.”
Recording sessions in the Snakepit circa 1981–1982 were extemporaneous, marathon affairs accompanied by copious amounts of beer, pot, and coke. “We’d go to the point of semi-exhaustion.”
They turned on all the amps, started the tape rolling, and recorded everything—song, interview, or fart. The plan was total creativity, and beyond that there were no further rules. Bob experimented with vocal delivery, falsetto, harmonies, wordplay, and accents ranging from British to a carnival barker’s brassy tone.
Jimmy Pollard (left) and Bob Pollard (right), 1982. (Courtesy: Robert Pollard)
They got the name Acid Ranch from Spahn Ranch, the Manson’s Family’s hideout, but it was also a play on acid rain. It was only one of the band names Bob and Mitch—and Jimmy once he was back home—recorded under, but it was a favorite. (They were Mailbox when a drum machine was included. “Mailbox was a little bit more refined,” Bob says. “We were influenced by the Smiths and shit.”)
They played whatever was at hand: someone would bang out a rhythm on the clothes dryer or a plastic bucket, Bob played an acoustic guitar or Mitch played bass, they warbled a cappella barbershop harmonies, or even used squeaking squeeze toys—as in the song “Mongoose Orgasm,” a frantic blood relative to the Residents’ Duck Stab and Pink Floyd’s “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict.”
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