No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 15-JAN-1990

The first four seconds of this influential Minneapolis trio's fifth album pretty much set the table: drum shots like an anxious heartbeat, then a sudden wall of fuzzy, high-treble electric-guitar noise. The choruses are occasionally catchy, especially on "The Girl Who Lives on Heaven Hill," but this is more like the intense Zen Arcade than more melodic later albums. (A rare pace change, the girl-obsessed "Books About UFOs" actually recalls Bruce Springsteen.) Bassist Greg Norton, who rarely gets mentioned in Hüsker reviews, sews together Bob Mould's power guitar, Grant Hart's head-banging beats, and general ensemble screaming. --Steve Knopper

No Description Available.
Genre: Popular Music
Media Format: Compact Disk
Rating:
Release Date: 15-JAN-1990

1. Crystal 2. Don't Want To Know If You Are Lonely 3. I Don't Know For Sure 4. Sorry Somehow 5. Too Far Down 6. Hardly Getting Over It 7. Dead Set On Destruction 8. Eiffel Tower High 9. No Promise Have I Made 10. All This I've Done For You.

"Ice Cold Ice," in which Bob Mould rails against "barren lands and barren minds" and Grant Hart falls in on the supercatchy chorus, exemplifies the Hüsker Dü career development that peaks on this final album. Without sacrificing the emotional intensity of earlier albums, the Minneapolis trio beefs up the guitar-based melodies and sneaks in pop songcraft in lieu of the old fast-and-loud hardcore style. On this 1987 double album, as usual, guitarist Mould supplies the personal songs ("Standing in the Rain"), while drummer Hart remains more broadly political ("Tell You Why Tomorrow"). --Steve Knopper

This is the album on which the monster that was Hüsker Dü truly came alive. From here on out, this Minneapolis trio would define new directions and open new vistas for rock music with every release. Bob Mould's spectacularly demented lead work and furious vocal delivery are driven to a frenzied pace by drummer Grant Hart and bassist Greg Norton. At times, as on the incredible opener, "Real World," the naked aggression and speed is hard to withstand. "It's Not Funny Anymore" is a great anthem, striking a blow against conformity and hinting at the pop territory the band would go on to explore more fully on future outings. "Diane," with Hart on lead vocal, is a ballad of sorts--and probably one of the most horrifying in the history of rock. --Mike Corrigan

Land Speed Record fully exposes the rage and manic energy that drove Hüsker Dü to dizzying heights of creative and critical success; it's an incredible (though appallingly poor-sounding) document of a live Minneapolis show from 1981 featuring the band in its embryonic form. Bob Mould and company seem bent on driving themselves to the brink of insanity as they plow through the performance with all the subtlety of a freight train out of control. As part of Hüsker history, it is of great interest to die-hard fans and rock critics alike. Unfortunately, it also exposes shortcomings--most notably sloppy playing--though these are easily forgiven considering the band's future contributions. --Mike Corrigan

One of the most electrifying post-punk bands was recorded on their last tour ('87).