Mag Earwhig! (1997)
Following the demise of the Tobin Sprout era, Pollard hooked up with Cleveland rockers Cobra Verde and recruited them to be his new version of Guided By Voices. The album is perhaps the most consistently focused album of the post-Scat era; it’s a direct continuation of *Under The Bushes Under The Stars*, with even higher production values. The songs seem more like the songs of a regular band, only written by a guy that can’t seem to take two steps without writing a pair of knockout pop songs. The professionalism can be off-putting to fans of the wild, anything-goes era, but those used to mainstream rock will find a lot to love on this one.
Do The Collapse (1999)
The band’s major label debut (on TVT Records), produced by Ric Ocasek (of The Cars), and honestly not all that remarkable. Often pointed to as a weak link in the band’s discography, the pressure of being signed to a major label after having spent so many years poor and recording through basement walls seems to have pushed Pollard into writing a really bland group of songs. There are really only a couple of standouts and the rest can be discarded at will. Interestingly, both standouts were used in pop culture: the stellar, misleading lead-off track “Teenage FBI” was used in *Buffy The Vampire Slayer* and super-ballad “Hold On Hope” was used memorably in an episode of *Scrubs*. At the same time, their live show, a ramshackle affair involving a **LOT** of drinking, kicked into epic mode, with sets often going over the three-hour mark. Anyone who grew up on modern rock radio will find *something* to like about the album, but in my humble opinion it pales in comparison to what came before or (to a lesser extent) what would come after.
Isolation Drills (2001)
A bit of a return to form after the relative snooze-fest of *Do The Collapse*, *Isolation Drills* contains some of the best tracks of the post-*Under The Bushes Under The Stars* era, and puts back the muscle and heft that Ric Ocasek’s glossy production sacrificed. There’s a lot of love for the Seventies here; while Pollard’s songwriting will always remain anchored in the British Invasion, there’s a sense on *Isolation Drills* that the band set out to make the best Cheap Trick album ever recorded. In this, they succeed: the songs sound ready for the arena at first blush, and the fact that radio didn’t immediately pick up on the universal accessibility of the album just goes to show the problems with terrestrial radio right from the beginning of the internet age.
Universal Truths And Cycles (2002)
Back to Matador they went, and even though they went from a major to an indie they managed to do better, chart-wise, than anything that came before (relax, it was only #160). It’s a bit tighter than *Isolation Drills*, and the reduction in recording budget actually seems to bring a bit of the old wild Pollard out to play in places. The magical moments seem a bit forced at times, but it’s a good album – not essential like *Bee Thousand*, or as lifeless as *Do The Collapse*, but it lands somewhere in the middle of their discography.
Earthquake Glue (2003)
*Earthquake Glue* was an album that showed a band on a real upswing. Their previous two albums had shown a willingness to be consistently good, if not great; they were albums you could listen to all the way through a couple of times, and then skip to the good parts thereafter. *Earthquake Glue* recaptures a bit of that old magic, though, from the 4-track garage recording days; there is a light, mellow groove that permeates the album like a particularly good bag of weed. It’s still not as consistent as anything from the lo-fi era, but it can be considered as being perhaps the most solidly satisfying of the second part of the band’s career.
Half Smiles Of The Decomposed (2004)
This was supposed to be the last album – they announced in April of 2004 that it would be, and for a while it was. It sounds like an attempt at crafting something a bit more wide-screen than anything they’d done before, like an album composed of the last songs of the night at their panoramic live shows. In this it really only half-succeeds; many of the songs, even though they fall into the usual two-and-a-half minute mould, seem as though they are wearing out their welcome by the end. It seems a bit tired, more than anything else, and Pollard was more than happy to spend the next several years following his muse through a series of typically ramshackle solo projects and albums with his sometime band Boston Spaceships. For all intents and purposes, Guided By Voices was put to bed for good.