Music nerds love ranked lists. Music nerds love thoughtful commentary. Music nerds love carefully curated playlists. Catalog Crawl provides all of these things and more. In these features, Strange Currencies takes an exhaustive look at the discographies of our favorite artists — the ones who reside at the core of our music obsession.

Any long-time reader of Strange Currencies should (hopefully) know that we’ve always taken a certain amount of pride in the diversity of music that is covered on this site. From our oft-acknowledged indie rock wheelhouse, we’ve branched out with month-long features on girl groups, pre-war Americana, and mid-century lounge. We spent an entire summer documenting fifteen regional garage rock scenes of the mid-to-late sixties. We’ve reviewed baroque pop classics, soul masterpieces, and video game soundtracks. We’ve crafted handy guides to discovering space age pop, Blaxploitation soundtracks, and yé-yé girls. And our massive A Century of Song project covered all of these genres and more.

So, anyone who has grown accustomed to Strange Currencies operating in this all-inclusive model is likely to have been let down by this year’s exceedingly-narrow focus on just one single band. Yes, it’s been a productive year of writing at Strange Currencies, but there hasn’t been much in the way of diversity. And to those of you who lament the ‘old’ Strange Currencies, we hear you. Therefore, in our first piece of 2025 that is not part of the ongoing, fifty-three part The GBV Project, we’re reviving one of our most popular features, Catalog Crawl.

And for our first Catalog Crawl piece in nearly sixteen months, we bring you (checks notes…)

What the hell? More Guided by Voices? Surely our editor-in-chief has listened to something else this year, right? (He assures us that he has listened to Airport 5, ESP Ohio, Cub Scout Bowling Pins, Circus Devils, Boston Spaceships, and a bunch of Robert Pollard solo records.)

So yeah, here’s yet another piece on the most ridiculously prolific band in the history of popular music. And this one focuses exclusively on their EPs; which is appropriate, since a) Guided by Voices made a lot of them, and b) The GBV Project has now covered all of the periods in which the band actually released EPs. We’ve arrived at a list of twenty, which doesn’t include split EPs, and does include at least one entry that some folks technically consider a single.

As is always the case with Catalog Crawl, we’re putting the favorite tracks from each release into a playlist, which you can find at the bottom of the page. Our E.I.C. said something about not including any tracks that appeared on other albums, but then he just started matching seemingly-unrelated adjectives and nouns together. Apparently this GBV thing has really gotten to him…

Anyway, here are a couple thousand more words about Guided by Voices. (But just to assure you that some of us listen to other music, yes, we agree that the new Geese album is phenomenal.)

Wine Cork Stonehenge

2018

(6.2)

20

Apologies to fans of 2019’s Warp and Woof, but the four EPs that were combined to make that full-length release are all concentrated toward the lower ranks of this list. And though there’s some decent material here, it’s (at least partially) the fact that those EPs were quickly reconstituted into a far more ‘useable’ package that keeps them from moving any higher. As for Wine Cork Stonehenge, at least the cover image lets us in on the (likely) inspiration for what might otherwise seem like a random assemblage of three words. Not that Bob Pollard would ever do that, right?

One for the playlist: The opening “My Angel” is the most memorable track here, and one of the catchier songs from the resulting Warp and Woof LP.

Down by the Racetrack

2013

(6.3)

19

After releasing three full-length albums in 2012, the reunited “classic lineup” of Guided by Voices rang in the new year with this six-song placeholder. Unfortunately, the momentum that had been gained from Let’s Go Eat the Factory through The Bears for Lunch seemed to have hit something of a wall, as Down by the Racetrack foreshadowed a series of three LPs that would struggle to live up to their immediate predecessors.

One for the playlist: While Tobin Sprout’s title track makes for a decent closer, it’s Bob Pollard’s “Copy Zero” that stands as the highpoint of Down by the Racetrack. It’s only a minor gem, but a gem nonetheless.

100 Dougs

2018

(6.6)

18

Released alongside Wine Cork Stonehenge, 100 Dougs boasts a slightly higher hit-to-miss ratio than its counterpart EP. That means that it still merely tops out as ‘pretty decent,’ but it was at least a half-step in the right direction on the road to Warp and Woof.

One for the playlist: While it’s tempting to go with the instrumental anomaly that is “It Will Never Be Simple,” it’s probably “Cohesive Scoops” that comes closest to capturing the old Guided by Voices magic.

Dayton, Ohio-19 Something and 5

2000

(6.6)

17

A bit of an odd one here, as Dayton, Ohio essentially overlaps with a GBV/Airport 5 compilation titled Selective Service. The fact that it arrived between Guided by Voices’ two big budget albums (Do the Collapse and Isolation Drills) makes the lo-fi nature of Dayton sound anachronistic in context, but it’s worth seeking out for any GBV fan.

One for the playlist: The best thing here is a live version of the title track—which appears on 1996’s fan club release, Tonics & Twisted Chasers. What remains are three Pollard acoustic numbers of mild intrigue. We’ll go with “Travels” as the keeper.

Umlaut Over the Özone

2019

(6.8)

16

The second pair of Warp and Woof EPs marked an improvement over the first batch in the estimation of most observers. Umlaut Over the Özone breezes by at a quick pace, but lands a few solid hooks before fading out. It’s a sharp representation of the present-day GBV lineup at their most concise.

One for the playlist: The closing “End It With Light” stands among the best tracks from the Warp and Woof era. Like everything else here, it flies by in a relatively unassuming manner, but it leaves an impression nonetheless.

1901 Acid Rock

2019

(6.8)

15

We reach the last of the Warp and Woof EPs with 1901 Acid Rock, which edges out Umlaut Over the Özone as the top pick of the bunch. Everything here ends in well under two minutes—and ultimately works better as part of a full-length release—but this is a solid collection of tight rock mini anthems.

One for the playlist: While 1901 boasts the highest overall success rate of the Warp and Woof EPs, “Cool Jewels and Aprons” easily stands as the highlight of these half-dozen tracks.

Clown Prince of the Menthol Trailer

1994

(7.0)

14

Alright, it’s back to the classic era, with this last of GBV’s four 1993-94 EPs. While Clown Prince of the Menthol Trailer is the least impressive of the bunch, there are at least a couple of tracks on this one that easily best anything we’ve encountered thus far. And even the throwaways are plenty charming, which should go without saying for anything from this period of the band’s history.

One for the playlist: A solid case could be made for the closing “Johnny Appleseed” (“so cherry…”), but it’s the opening “Matter Eater Lad”—in all of its seventy-two seconds of glory—that dominates over the proceedings here. Great stuff…

Plantations of Pale Pink

1996

(7.1)

13

Another blast from the mid-nineties, Plantations of Pale Pink arrived toward the end of Guided by Voices’ most celebrated stretch of albums. And while GBV were generally putting their best material on LPs during this period, there were still plenty of choice leftovers to make this one a must-hear for any fan.

One for the playlist: The documentary Watch Me Jumpstart features a scene in which Robert Pollard is overdubbing a vocal track onto the opening “Systems Crash.” It’s a revealing look at his bare-bones recording process, but one that reinforces the idea that fidelity doesn’t matter much when the material is great.

The Grand Hour

1993

(7.1)

12

The first new release after 1992’s Propeller had elevated Guided by Voices to an increased level of attention, The Grand Hour hardly sounds like an attempt to capitalize on a recently-raised profile. And yet, these six songs and their breakneck pace served to confirm that GBV weren’t the least bit interested in conforming to the expectations of a newfound audience. That’s why we love them.

One for the playlist: One of the band’s finest tracks, “Shocker in Gloomtown” is a genuine Guided by Voices classic—ably covered in tribute by fellow Dayton exports The Breeders.

Get Out of My Stations

1994

(7.2)

11

Both sequentially and in terms of quality, Get Out of My Stations falls somewhere in the middle of GBV’s storied run of 1993-94 EPs. It does however house the best cover art—an arresting image of Bob and Jimmy Pollard in the former’s basement, aka “The Snakepit.” The image helps to underscore the homemade charm that defines these seven tracks.

One for the playlist: There’s a certain (and rare) kind of genius that can turn something as seemingly-inconsequential as “Melted Pat” into a genuine gem. There are a couple of other solid contenders here (“Scalding Creek” and “Dusty Bushworms” being the best of the bunch), but “Pat” is a seriously charming novelty.

The Pipe Dreams of Instant Prince Whippet

2002

(7.4)

10

A companion piece to 2002’s Universal Truths and Cycles, The Pipe Dreams of Instant Prince Whippet collects the B-sides from that record’s four singles, and adds in a few quality leftovers for good measure. This is Guided by Voices in the middle of their most Who-obsessed era, and it’s a style that fit well with both Robert Pollard’s songwriting, and the powerhouse lineup that he had assembled.

One for the playlist: While there are plenty of viable contenders, the closing “Beg for a Wheelbarrow” gets the call. It’s a powerful labor anthem, and one of the angriest songs in the GBV catalog.

The Official Ironmen Rally Song

1996

(7.6)

9

Built around one of the finest tracks from GBV’s most celebrated era, The Official Ironman Rally Song coincides with 1996’s stellar Under the Bushes Under the Stars. Is it a single or an EP? Who’s to know; but it’s mildly annoying that the 7″ plays at 45rpm on the A-side, and 33rpm on the flip, in order to accommodate the three B-sides.

One for the playlist: With the title track ineligible due to our rules, the next best thing here is “Why Did You Land?” A slower-paced version of the track had appeared on the 2000 Suitcase compilation, but the more rocking take found here is superior.

Forever Since Breakfast

1986

(7.6)

8

The first ever Guided by Voices release, Forever Since Breakfast is both more confident and ‘professional-sounding’ than some of the full-length albums that would follow in its wake. Breakfast finds the band in their R.E.M.-worship phase—in both Pollard’s vocals and the jangly guitar work of Paul Comstock—but that’s hardly a bad thing.

One for the playlist: A contender for the title of first great GBV song, “The Other Place” is a genuine gem that closes out Forever Since Breakfast on its highest note.

I Am a Scientist

1994

(7.7)

7

Released in the aftermath of GBV’s magnum opus, I Am a Scientist presents a punchier version of the title track than the one that had appeared on Bee Thousand. And while nothing else here can hold a candle to it, spending time with this era of Guided by Voices is never a bad idea.

One for the playlist: With “I Am a Scientist” ineligible—even though it’s a totally different recording—the next strongest track here is “Do the Earth.” A longtime staple of GBV’s legendary live set lists, it’s one of the finest non-album tracks from the band’s mid-nineties apex.

Fast Japanese Spin Cycle

1994

(7.8)

6

Arguably the most scatterbrained of GBV’s four 1993-94 EPs, Fast Japanese Spin Cycle houses some blatant toss-offs, alongside a few of the finest tracks of the “Pre-Thousand” era. Among the latter are a superior version of Vampire on Titus‘ “Dusted,” as well as “Kisses to the Crying Cooks”—which eventually morphed into the Propeller classic, “Over the Neptune.”

One for the playlist: The aforementioned tracks are ineligible, but that still leaves the exuberant “My Impression Now.” Stop us if you’ve heard this before, but it’s one of GBV’s best non-album tracks.

Hold on Hope

2000

(8.0)

5

While the title track—which appears on 1999’s Do the Collapse—is arguably the most divisive song in the Guided by Voices discography, this companion EP tends to get high marks from GBV fans. In fact, there are plenty of them who would take it over the similarly-divisive parent LP.

One for the playlist: Plenty of worthy choices here. One could make a case for “Underground Initiations,” “Interest Position,” “Fly Into Ashes,” “Tropical Robots” (the most GBV song title, ever), “A Crick Uphill,” or “Avalanche Aminos.” (Un)fortunately, we don’t have to choose one, as neither Hold on Hope or the largely-similar Daredevil Stamp Collector are presently available on streaming services.

Sunfish Holy Breakfast

1996

(8.2)

4

Among the most generous Guided by Voices EPs—it’s six seconds shorter than The Pipe Dreams of Instant Prince Whippet and five seconds shorter than Forever Since Breakfast—Sunfish Holy Breakfast has often been cited as the band’s best short-form work. As you can tell by the ranking, a few will place a few slightly higher, but really, we’re in splitting-hairs territory here. All ten of these tracks are worthy additions to the GBV catalog, and the whole thing holds together as a cohesive release, despite the variance in recording dates, personnel, and methods.

One for the playlist: A true GBV all-timer, “If We Wait” is the glittering prize of Sunfish Holy Breakfast. Yeah, it had been released on a split single three years earlier, but this is one of Robert Pollard’s most endearing masterpieces.

Wish in One Hand

1997

(8.3)

3

Track-for-track, it’s quite possible that Wish in One Hand is the best EP in the GBV discography. First, you have the original recording of “Teenage FBI.” It’s tough not to love the polished take that opens Do the Collapse, but even Bob Pollard chose this charming lo-fi version to appear on the GBV ‘best of’ compilation, Human Amusements at Hourly Rates, and with good reason. Next, there’s the chugging riffage and unhinged vocals of “Now I’m Crying”—which could almost pass for Pollard’s take on Plastic Ono Band. Lastly, there is “Real”—one of the most genuinely affecting tracks that Pollard has ever penned. There are no elf kickers, robot boys, or dreadful crows to be found here: just a sweetly sentimental melody, and lyrics to match.

One for the playlist: Frustratingly, Wish in One Hand is not presently available on streaming services. It’s a damned shame too, because “Real” deserves far more recognition; and we probably wouldn’t argue with anyone who said it was a top ten GBV track.

Tigerbomb

1995

(8.3)

2

The marquee tracks on this post-Alien Lanes EP are the re-recorded versions of two of that album’s highlights: “My Valuable Hunting Knife” and “Game of Pricks.” The former adds some much welcome propulsion to what was already an irresistible hook. The latter turns one of the most melodious indie pop tracks ever recorded into a genuine rock anthem. Plenty of GBV fans have plead impassioned cases for the version that they find superior, but both are absolutely essential.

One for the playlist: The middle tracks on Tigerbomb struggle to match the quality of that formative one-two opening punch, but Tobin Sprout’s closing “Dodging Invisible Rays” can absolutely hang with them. It might be the best song that he ever wrote for Guided by Voices.

Static Airplane Jive

1993

(8.4)

1

As mentioned a few entries ago, we’re really splitting hairs between the top four EPs on this list, and a reasonable case could made for any of them being Guided by Voices’ best. However, there’s just something special about the four short-form releases that Bob Pollard quickly assembled—for four different record labels—in the wake of Propeller‘s out-of-nowhere success. GBV were utterly unstoppable from 1992-1996; and even someone who would devote an entire year to wading through the band’s catalog—who would do such a thing?—still might have a difficult time fully grasping the depth and breadth, and both the quality and quantity of the songs that Bob Pollard wrote during that dizzying five-year run.

But you can cue up Static Airplane Jive, and in a single ten-minute blast, take in a broad overview of nearly everything that made this particular era of Pollard’s passion project so great. There are the perfect power-pop hooks of “Big School,” the cryptic Velvets-isms of “Damn Good Mr. Jam,” the shrieking freakout of “Rubber Man,” the impossibly-charming nursery rhyme of “Hey Aardvark,” the pummeling post-punk of “Glow Boy Butlers,” and the perfectly-nailed closing anthem “Gelatin, Ice Cream, Plum…” Most careers don’t have this amount of range or hooks.

One for the playlist: One, two, “Big School”!!! Yeah, it’s the obvious choice, but there’s no reason to overthink this one—especially when Bob Pollard apparently forgot to include it on Human Amusements at Hourly Rates.