For his fans, the most disappointing aspect of Bob Mould’s forthcoming autobiography is likely to be that the revered singer, songwriter and guitarist doesn’t love Husker Du nearly as much as they do.

    Yet in the context of the personal struggle Mould describes in “See a Little Light: The Trail of Rage and Melody” (written with Michael Azerrad), it’s understandable why.

    Husker Du were not as successful or well-known as some of the countless bands the trio influenced – from Nirvana to the Foo Fighters – but they bowled over pretty much everyone who ever saw them play. From their beginnings in Minneapolis in the late ‘70s to their bitter demise in 1988, Husker Du played with a ferocity that made almost every band before or since sound tame. (A guide to Bob Mould's best recordings is HERE.)
       
        Mould would balance his 200-pound-plus frame on a forefoot while leaning into the microphone like an angry bear. His sheets-of-sound guitar-playing gave the band an epic impact: orchestral in scope, violent in execution, harrowing to witness. Grant Hart, the long-haired, barefoot drummer, would throw up volleys of rhythm, hammering the crash cymbal to create a thick wash alongside Mould’s guitar. Off to the side, handlebar-mustached Greg Norton would turn the stage into his trampoline while pummeling the bass.

On his forthcoming autobiography, "See a Little Light: The Trail of Rage and Melody" (Little Brown), Bob Mould surveys his 30-year musical career. Here are the best of his recordings:   

Husker Du, “Eight Miles High” single (1984): With his over-driven guitar and increasingly unhinged vocals, Mould drops an A-bomb on the Byrds’ psychedelic classic. One of the best rock-era covers ever.       

Husker Du, “Zen Arcade” (1984): The double-album blows open the doors of hardcore punk by blending songcraft, psychedelia and experimental ambition. Even the fuzzy production can’t dim the power of the songs.

Husker Du, “New Day Rising” (1985): Even better than its celebrated predecessor, this aptly named follow-up funnels the noise into ringing pop songs.

Husker Du, “Flip Your Wig” (1985): The final piece of Husker Du’s game-changing trilogy shows the band at its most intensely melodic without softening the attack, anchored by Mould’s “Makes No Sense At All.”

Bob Mould, “Workbook” (1989): The singer’s solo debut introduces a more textured approach and a deeper sense of introspection.

Sugar, “Copper Blue” (1992): Capitalizing with his new power trio on the alternative-rock gold rush he presaged in Husker Du, Mould brings concise tunes, robust choruses and driving tempos to his most commercially successful album.

Sugar, “Beaster” (1993): The nastier cousin to the Sugar debut, with some of Mould’s most harrowing music in “JC Auto.”

Bob Mould, “Life and Times” (2009): The hooks arrive in bunches as Mould artfully balances reflection, anxiety and a hint of hopefulness.

greg@gregkot.com