100 Songs, 3 Hours 33 Minutes

EDITORS’ NOTES

This third boxed set featuring yet another 100 stray outtakes from the Guided by Voices years is another beautiful mish-mosh of quickies (“Building A Castle,” “Watchin’ ‘Em Diggin’ Up the Road”), surprisingly extended tunes (the FOUR minute acoustic guitar pinking of “Away With Driver,” “Troopers in the Town”), amateurish feedback-induced punk rock with a touch of The Fall (“Trash Truck”), straightforward power pop (“Dropping the Bomb,” “I’ll Come (and When It Does It’s Mine,“ “When’s the Last Time”), lo-fo rockers (“Janet Wait,” “Raphael Muzak,” “One Drop”) and those uncategorizable tunes that fall through the cracks (“The Annex,” “I’m An Acting Student,“ “Psychlophobia”). Recorded between the mid-90s and the present, with an acoustic jam session between Robert Pollard, Tobin Sprout and Greg Demos circa Bee Thousand and Alien Lanes filling out the final tracks among the highlights, Suitcase 3 is more essential than one might assume considering the band’s voluminous (some might say ridiculous) output. Pollard (apparently) never scraps an idea.

EDITORS’ NOTES

This third boxed set featuring yet another 100 stray outtakes from the Guided by Voices years is another beautiful mish-mosh of quickies (“Building A Castle,” “Watchin’ ‘Em Diggin’ Up the Road”), surprisingly extended tunes (the FOUR minute acoustic guitar pinking of “Away With Driver,” “Troopers in the Town”), amateurish feedback-induced punk rock with a touch of The Fall (“Trash Truck”), straightforward power pop (“Dropping the Bomb,” “I’ll Come (and When It Does It’s Mine,“ “When’s the Last Time”), lo-fo rockers (“Janet Wait,” “Raphael Muzak,” “One Drop”) and those uncategorizable tunes that fall through the cracks (“The Annex,” “I’m An Acting Student,“ “Psychlophobia”). Recorded between the mid-90s and the present, with an acoustic jam session between Robert Pollard, Tobin Sprout and Greg Demos circa Bee Thousand and Alien Lanes filling out the final tracks among the highlights, Suitcase 3 is more essential than one might assume considering the band’s voluminous (some might say ridiculous) output. Pollard (apparently) never scraps an idea.

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