Tag Archives: Everything Falls Apart

In a Free Land – Hüsker Dü

When I was around 15 or 16, in 1997 and 1998, I was constantly on the lookout for records by bands I’d read about and never heard. I’d read whatever American guitar magazines I could get my hands on (never passing a newsagent when I was out cycling around town without going in to see what they had) and any book about rock music in any of the libraries in the borough. Through the interviews I read in guitar magazines and books, I learned about Sonic Youth, Hüsker Dü, the Replacements, Dinosaur Jr, the Minutemen, as well as a host of big-in-the-US acts that never made it over here.

One article in one of these magazines (a sort-of history of alternative rock that I really wish I’d kept. Talk about a time capsule!) was a retrospective of the Minneapolis music scene in the 1980s, which is where I found out all about Hüsker Dü, the Replacements, the Jayhawks and Soul Asylum*. So when I saw an expanded edition of Hüsker Dü’s debut studio album, Everything Falls Apart, in Southend Library, I picked it up right away, barely pausing to ask how such an aggressive, low-budget artefact ended up in a public library, 4000 miles from where it was released on the band’s own label in 1982, when I was less than a year old. Frankly, I still don’t know who on earth was acquiring the records for Essex Libraries’ CD catalogue, but I’m mighty glad that said catalogue included Hüsker Dü.

Everything Falls Apart is a hardcore album, with several songs less than a minute long, and a total running time of around 25 minutes. So the label in charge of the reissue, Rhino, filled it out with the band’s early 7-inch singles and B-sides. One of which was In a Free Land, a track that hinted at what the band would go on to do as a more focused melodic force, rather than three guys playing so fast and screaming so hard the music was a barely coherent blur.

Hardcore was by its very nature political. All the bands were anti-government, some out of leftist convictions (they were appalled the country was now run by Reagan), some because of anarchist sympathies. In a Free Land, a rant against the education system and the wider society that it serves, was more in tune with the latter strain of hardcore (the hard-to-hear last line of the verse is “The only freedom worth fighting for is what you think”). Mould would revisit some of these themes later in his work (as on Copper Blue‘s The Slim, Mould’s response to losing someone to Aids), but his solo songs and those he recorded with Sugar were on the whole more concerned with his emotional life than the ones he wrote for Hüsker Dü.

In a Free Land, like Grant Hart’s Turn on the News from Zen Arcade, exists in a strange state. Familiar only to Hüsker diehards, it should be a standard. If it had been recorded by the Clash, it would be. So it was an enormous treat when I saw Mould play the Electric Ballroom in Camden a couple of months ago that In a Free Land was one of the Hüsker Dü songs he performed that night, alongside New Day Rising, Makes No Sense at All, I Apologise and Never Talking to You Again. It deserves its place in that elevated company.

In a Free Land

*Actually, I knew Soul Asylum via Runaway Train and owned Grave Dancers Union already, but had no idea they’d once been a hardcore band mentored and produced by Bob Mould.

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Grant Hart RIP

It’s not just that Turn on the News deserves to have been heard by a bigger audience than it has by virtue of its sheer quality. It’s that it, like other songs I can think of, doesn’t make sense as a cult song. It’s just bigger than that.

If it had been written and recorded by Bruce Springsteen for Born in the USA rather than by Hüsker Dü for Zen Arcade, it would now be a rock ‘n’ roll standard. If it had been recorded by the Clash, it’d be up there in the band’s catalogue with London Calling. It’s Rockin’ in the Free World, five years early, and Neil Young would have been mighty happy to have written that riff and that chorus. It has the melody, the power, the drama and the timelessness of any classic rock warhorse you care to name.

Turn on the News was written by Hüsker Dü’s drummer, Grant Hart, who died yesterday of cancer. Hart wrote a huge number of the band’s greatest songs (Pink Turns to Blue, Keep Hanging On, Green Eyes, Sorry Somehow and Don’t Want to Know if You Are Lonely – just to name the first five that come to mind), and his songs are just as treasured by the band’s fans as those by Bob Mould, even if Grant never got the mainstream exposure in the years since Hüsker Dü broke up that Bob enjoyed with Sugar.

He recorded less prolifically than Mould and his records tended to only turn up on little indies without any promotional budget, but from the EP version of 2541 (a song covered by Marshall Crenshaw and Robert Forster, who both know a thing or two about writing good alterna-pop) to the rather bonkers but occasionally inspired The Argument from 2013, an album based on Milton’s Paradise Lost, he never lost his way with a melody.

Ultimately though, it’s his time in Hüsker Dü that he’ll be remembered for, and that’s only natural; to say that rock music wouldn’t be the same today without Hüsker Dü is such a commonplace observation as to be a cliche. But if you want proof, just take a look at social media today and see your favourite musicians talking about what the band’s music, and Grant Hart, meant to them.