"I got it! We'll have them write hit songs!" some nameless record company executive says in the cover painting to
the Minutemen's 1985 EP
Project Mersh, and that joke covers about half of the record's formula. While
the Minutemen had been writing more melodic and approachable songs with each release, the massive barrage of 90-to-180-second songs on the epic
Double Nickels on the Dime was at once an embarrassment of riches and a bit much for a casual listener to chew on. So for this tongue-in-cheek experiment in making a "commercial" (or "mersh") recording,
D. Boon and
Mike Watt wrote a few actual three-minute-plus rock tunes, complete with verses and choruses and melodic hooks. On top of that, the band made a game stab at cleaning up their act in the studio; while hardly on the level of something
Bob Ezrin or
Richard Perry would come up with,
Project Mersh boasts a good bit more polish than anything the band had released up to that point and even featured horn overdubs and keyboards on a few tracks. But the punch line was that
the Minutemen had used all this fancy window dressing on songs that weren't all that different from what they'd been doing all along --
"The Cheerleaders" and
"King of the Hill" are typically intelligent, clear-eyed polemics from
Boon, and
Watt's
"Tour-Spiel" is one punker's bitterly funny ode to life on the road (it stands comfortably beside their cover of
Steppenwolf's variation on the same theme,
"Hey Lawdy Mama"). While
the Minutemen were a band that followed their own creative path from the beginning to the end,
Project Mersh made clear they could have followed a more easily traveled road and still made good music with plenty to say. ~ Mark Deming
