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Robert Pollard, "Normal Happiness"
Robert Pollard’s second solo album of 2006 is a mixed bag of pop gems and forgettable tunes that betray an inconsistency of effort. While it’s the sort of thing I expect from one of his numerous side projects, that one of his so-called major releases is so scattershot can only be considered a disappointment.
As a longtime fan, I’ve given Pollard some leeway on occasion because his missteps have been relatively minor in light of how much I’ve enjoyed the majority of his output. So it’s with trepidation that I admit that the bad outweighs the good on one of his major releases. Like on From a Compound Eye, this album finds Pollard laying down the basic vocal and guitar tracks and leaving the rest to Todd Tobias, who plays almost all of the other instruments. For all of the work he does, it seems unfair that Tobias doesn’t share billing. Yet his backing on this particular album is merely competent if uninspired, adjectives that could sometimes describe his production work as well. Fiction Man, for instance, was fairly flat, if not bland, yet Compound Eye was among his best. With Normal Happiness, Tobias unfortunately returns to the Fiction Man aesthetic. There’s a sameness at work here that deprives many songs of the dynamics they deserve, especially "Top of My Game," "Tomorrow Will Not Be Another Day," and "Join the Eagles." While it might seem natural to blame Tobias for these flaws, his production isn’t the biggest problem here.
The worst part is Pollard’s singing, something that I’ve never had reason to worry about before. At times, it seems that he’s going with the first take regardless of its quality and moving on as fast as he can. In particular, "Seriously Bird Woman (You Turn Me On)" is intended to be a smoldering ballad but devolves into a painful dirge when Pollard’s voice cracks in an attempt to hit high notes that are out of his reach. Another take might have done wonders, but perhaps Pollard couldn’t be bothered. This philosophy rules much of the album, particularly the second half.
As much as I find worthy of complaint, there are still some great songs here. "Whispering Whip" is a strange, brief twist of pop, while "Supernatural Car Lover" is a fairly straightforward sunny song with a great hook. "Give Up the Grape" and "Pegasus Glue Factory" are heavier than the rest and might have been better situated on one of the Circus Devils releases, but the latter in particular is a nice change of pace and something I’d like to hear more of in the future. In an interview not too long ago, Pollard said he’d like to do a post-punk album but that he’s too old to make it believable. It’s a shame he feels so uncharacteristically self-conscious because, similar to "Pegasus," "Sleepover Jack" from Half Smiles of the Decomposed was one of that album’s highlights, and I would love for him write more songs in this vein.
I prefer Pollard when he’s incensed, when he feels like he has something to prove. Even From a Compound Eye had that element to it, but this one simply does not. Writing consistently enjoyable songs comes easily to Pollard, but this album sounds like it’s coming too easily.
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