Review
Robert Pollard
Normal Happiness

Merge (2006) Evan C.

Robert Pollard – Normal Happiness cover artwork
Robert Pollard – Normal Happiness — Merge, 2006

After the now-legendary, myth-making years in the basement with a guy named Tobin and the other Mitch Mitchell working shamelessly towards what would become Bee Thousand (while still teaching middle school Social Studies, no less) and Spin's review naming same "Record of the Year," some say it's all been downhill for Pollard and his raving gangs of rockers. And how much ink has been spilled over the past decade regarding Guided By Voices and lead singer Pollard's penchant for what he calls the three p's: pop, progressive, and psychedelia. And of course when taking about dear old big daddy king shit himself, the sweet booze?

Every now and then, Pollard rewards his fans and new listeners by giving them exactly what they want: a great album (in the old-time sense - think Who's Next and Pete Townsend's often-brilliant early solo work) chock full of pop ditties meant to be cranked in the summertime while driving, windows down, through your shitty, wonderful suburban town. Normal Happiness is that record this time around. This is the sound of Pollard and producer/former bandmate Todd Tobias having a whole hell of a lot of fun in the studio. Does it sound like his last, the reasonably fantastic first solo double-album by Pollard, From a Compound Eye? Not in the least. Think less psychedelic, more straightforward pop-rock with bright-lipped guitars fueling a late 70's drug dream. Is it perfect? Far from, which makes it all the more endearing. Normal Happiness is unique in the Pollard/Guided By Voices canon in that it's almost wholly comprised of up-tempo, two-minute jolly bubblegum rockers like "Supernatural Car Lover" and "Rhoda Rhoda." "Top of My Game" suggests that Pollard knows precisely where he's likely to land in the indie game with this one - right on the mark. "It's all good" is a phrase that could easy be applied to this one, kids. Like the man with the high kicks says, it's time you get a faceful.

Robert Pollard and his band featuring the amazing Tommy Keene on guitar, Jon from Superchunk on drums, dubbed The Ascended Masters on the last tour, will hit the road in November in support of this not-so-little beauty. Judging by the gig I saw on the FaCE tour last year in San Francisco, the precocious youth of Pollard's backing band seems to have re-invigorated our man. Like LSD but not in the least dangerous or bad for your brain, with Normal Happiness the hits just keep on coming. Let's hope it always stays this great.

8.5 / 10Evan C. • November 5, 2006

Robert Pollard – Normal Happiness cover artwork
Robert Pollard – Normal Happiness — Merge, 2006

Related news

Robert Pollard pens solo record

Posted in Records on May 28, 2013

Recently-posted album reviews

The Flyboys

Complete Flyboys 1979-1980
Frontiers Records (2026)

The archival hunt for the "missing links" of first-wave California punk usually leads through a trail of grainy handbill Xeroxes and tape traders' overdubbed copies. But with The Flyboys, the story has always been a bit more elegant—and a lot more colourful. Long before they were swept into the gravity of the Hollywood scene, frontman John Curry was already performing … Read more

Ultrabomb

The Bridges That We Burn
DC-Jam Records, Virgin (2026)

Ultrabomb just detonated. The Bridges That We Burn isn't some polite "heritage act" victory lap. It smells like a hand-rolled cigarette lit with a blowtorch in a damp Minneapolis alleyway. No reunion uranium glow here—just three lifers who’ve spent their lives in vans and aren’t interested in anything but the friction prediction. The DNA is legendary, but they aren’t coasting … Read more

Sweat

Tear it on Down
Vitriol (2026)

Tear It On Down is the third record from Sweat and it picks up where the last two left off. It's aggressive hardcore punk, but with a playful groove or swagger that really makes it feel uplifting, even when the content is not. Case in point: "Surveillance State," which rolls kind of like a call-and-response song, except that lead vocalist … Read more