5 revelations in Mould's book

"See a Little Light" sheds more light on the end of his two well-known bands and a lot more.

June 9, 2011 at 9:56PM

Hüsker Dü's final meeting was over the kitchen table with Grant Hart's parents. Mould says Hart's mom likened her son's drug problems to a cold, and she suggested the band play only on weekends. He writes: "I push away from the kitchen table, begin to rise, and say, 'I think I'm done here.' ... That was it. It was over."

Mould almost went to work at a state park after the breakup. He applied for a gift-shop job at a park near the farm by Pine City where he (later) wrote the songs for "Workbook." He explained by phone: "I was so despondent and confused, I wrote them this letter saying I've got all this experience, three years at Macalester, blah blah blah. I got a rejection letter back, which left me even more confused [laughs]."

He has never heard the Hüskers' live album "The Living End." When sent a copy for approval, he gave it to his guitar tech. "If Dewitt [Burton] liked it, it was good enough for me," he writes.

Kurt Cobain's suicide soured him on Sugar. It happened during beleaguered sessions for Sugar's last album, three years after touring with Nirvana. Mould and "alt-rock" were at their commercial peak: "Once you become successful, the business won't let you stop to catch your breath."

He tried to retract his 1994 "coming out" article just before Spin magazine published it. "I figured most people know," he writes, "but now it has become a big thing." In the end, he admits: "When Hüsker Dü signed to a major, I thought the repercussions would hurt us. I was wrong -- it hardly mattered. And the same thing with the Spin piece."

about the writer

about the writer

Chris Riemenschneider

Critic / Reporter

Chris Riemenschneider has been covering the Twin Cities music scene since 2001, long enough for Prince to shout him out during "Play That Funky Music (White Boy)." The St. Paul native authored the book "First Avenue: Minnesota's Mainroom" and previously worked as a music critic at the Austin American-Statesman in Texas.

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