Posts Tagged ‘Bob Stinson’

This EXCLUSIVE bundle comes with a 10″x14″ paper placemat that is a replica of the original Pleased To Meet Me promo item from 1987, a bumper sticker, a 3″ Patch and a limited edition cassette. The cassette features a previously unreleased interview with Paul Westerberg recorded just before the release of the Pleased To Meet Me album. Brief excerpts from the interview were originally included in a radio promo LP that was released in 1987 but this marks the first time that the complete interview has been made available.

Pleased To Meet Me is the critically acclaimed fifth studio album by the American rock band The Replacements. Released in 1987 by Sire RecordsPleased To Meet Me is the only album recorded by the band as a trio, after original guitarist Bob Stinson acrimoniously left the band.

Following last year’s widely acclaimed Dead Man’s Pop release, Pleased To Meet Me will be receiving a similar ‘deep dive’ treatment with a 3-CD/1-LP deluxe boxed set, which will tell the story of the album in ways not previously possible with more than 50% of the content previously unreleased

  • New remaster of the original album by Justin Perkins, who was also behind the boards for our Dead Man’s Pop regimaging
  • 1986 demo session with Bob Stinson – his last recorded Replacements performance
  • Additional 1986 demos with the band as a three-piece outfit (sans Bob)
  • Previously unreleased rough mix of the album with alternate track listing
  • Studio outtakes from the album recording sessions (Memphis, 1987)
  • Rare single mixes

The making of Pleased To Meet Me was a transformative journey for The Replacements, one that began with the combustible Minneapolis combo on the brink of collapse and culminated in one of the definitive albums of the band’s career. That transformation is chronicled in-depth on the group’s latest boxed set, Pleased To Meet Me (Deluxe Edition).

More than half of the music (29 tracks) on this Deluxe Edition set has never been released, including demos, rough mixes, and outtakes as well as Bob Stinson’s last recordings with The Replacements from 1986.

The music is presented in a 12 x 12 hardcover book loaded with dozens of rarely seen photos along with a detailed history of the Pleased To Meet Me era written by Bob Mehr, who authored The New York Times bestseller, Trouble Boys: The True Story of the Replacements.

Pleased To Meet Me was recorded over three months at Ardent Studios in Memphis with legendary producer Jim Dickinson before it debuted in June 1987. The collection opens with a newly remastered version of the original 11-track album along with a selection of B-sides and a version of “Can’t Hardly Wait” that was remixed by Jimmy Iovine. All of the music included in this boxed set has been remastered by Justin Perkins, who remastered the band’s widely acclaimed 2019 boxed set, Dead Man’s Pop.

The second disc explores the creative process behind Pleased To Meet Me with 15 unreleased demos recorded at Blackberry Way Studios in Minneapolis during the summer of 1986. The first seven of these demos represent the last recordings made by all four original members of The Replacements. After those demo sessions stalled out, singer/guitarist Paul Westerberg, bassist Tommy Stinson and drummer Chris Mars made the painful decision to part ways with lead guitarist Bob Stinson after recording five albums together.

The disc’s remaining eight demos feature the band as a trio and include “Shooting Dirty Pool,” two versions of “Kick It In,” and “Even If It’s Cheap,” whose opening line (“Pleased to meet me/the pleasure’s all yours”) would ultimately inspire the title of the album.

The collection’s final disc features 13 previously unreleased rough mixes by studio engineer John Hampton that include the majority of the album along with non-album tracks like “Election Day” and “Birthday Gal.” These rough mixes are also featured on the 180-gram vinyl record included in the set.

Rounding out the collection are several unreleased tracks (Westerberg’s “Run For The Country” and “Learn How To Fail,” Stinson’s “Trouble On The Way”) along with a selection of outtakes (“Beer For Breakfast” and “I Don’t Know”) that debuted on the 1997 compilation, All For Nothing/Nothing For All.

The Replacements began to turn away from their early punk aesthetic on “Hootenanny”, the second studio album setting themselves up for stirring new successes. Unfortunately, this album also marked the beginning of the end for the band’s seminal lineup.
They had begun their discography with the hardcore, thrillingly haphazard 1981 album Sorry Ma, Forgot to Take Out the Trash, followed by the similarly constructed Stink EP a year later. This was booze-addled co-founding guitarist Bob Stinson’s forte, the place where he felt most at home. Frontman Paul Westerberg had other ideas.

“It had been a year or six months of touring and doing the Stink thing,” Westerberg says in the excellent “Trouble Boys The True Story of the Replacements”, “and the last thing I wanted to do was really bash out another one like that. … It was impossible to sing that shit anyway; it was ripping my throat raw.”

The Hootenanny, album was issued on April 29th, 1983, It re-drew the Replacements‘ musical boundaries. Suddenly, they were dabbling in pop and old-school rock sounds, and country and folk, too. Some of it was quite frankly ironic, but the album still represented a huge leap forward – and it completely reshaped the Replacements‘ audience.

They’d gotten there by finally speaking to their own deeper, quite fundamental contradictions. After all, this was a band that could somehow come off as both sensitive and sarcastic, darkly poetic and strikingly sophomoric. Westerberg’s roving muse was actually matched by the built-in musical tendencies of bandmates Bob Stinson, his bass-playing brother Tommy Stinson, and drummer Chris Mars.

“If it doesn’t rock enough, Bob will scoff at it,” Westerberg says in Our Band Could Be Your Life, “and if it isn’t catchy enough, Chris won’t like it – and if it isn’t modern enough, Tommy won’t like it.”

Having already changed recording venues in favor of a mobile 24-track unit at a warehouse in Roseville described in the liner notes as “a warehouse in some godawful suburb north of near downtown Minneapolis, The Replacements began trying on new personas: “Willpower” brought to mind the Psychedelic Furs at their most atmospheric, while “Take Me Down to the Hospital” revealed a blues base. “Mr. Whirly” boasted an overt Beatles influence a parody of the Beatles track “Oh! Darling” (with the opening bars of “Strawberry Fields Forever”) and bears the writing credit “mostly stolen” on the record label

, and “Buck Hill” referenced surf rock. “Color Me Impressed” rankes as one of Westerberg’s best early paeans to outsiders. “Within Your Reach” even included a bit of synth.

As he plumbed deeper emotions, Westerberg headed toward something that might be called singer-songwriter punk. “There was less concern of trying to make an album that was all fast rock and roll songs,” Westerberg adds in  Trouble Boys. “The record was going to be whatever turned out best on tape.”

At the same time, however, Hootenanny still remained connected to their unstructured roots. The title track, a chaotic blues shuffle in which all of the Replacements switched instruments in order to annoy their fastidious co-producer Paul Stark, was placed at the top of the record. They then charged right into “Run It,” an unapologetically hardcore romp. In these moments, the late Bob Stinson transformed once more into a revelation of guttural expression, weird angles and coiled aggressiveness.

“I mean, what he played just came from somewhere else,” said former manager Peter Jesperson “It was instinctual, more than most people that I’ve ever experienced. He just played a weird amalgamation of things that he admired, filtered through the weird Bob Stinson brain.”

Through it boasts a surprisingly jazzy approach, the lyrics of “Lovelines” were also pure punk: Westerberg reads classified ads, verbatim, straight out of Minneapolis‘ City Pages, you can even detect the sound of turning pages as the song ends. They begin “You Lose” with Westerberg talking back to the control room. “Are we going to record this one?” he asks. Then, as the music suddenly surrounds him: “I see. Well, in that case …”

Meanwhile, the Replacements were still an on-stage mess, as they consumed staggering amounts of alcohol before performing. “If it’s a small crowd, it helps sometimes because you see double,” Westerberg once quipped. “Then you can fill the joint.”
That’s part of why almost all of Hootenanny was cut live, with minimal overdubbing of lead vocals and guitar. They were constrained, quite frankly, by Stinson’s outsized appetites. “The major consideration was how drunk Bob was going to be when he came to the sessions,” Stark said in Trouble Boys, “and how much you could get out of him before he got too drunk to work. With Bob, we only had about 20 or 30 minutes to record every night.”

Bob Stinson had tried to go on the wagon the summer before, but fell off again. At one point, Tommy Stinson was desperate enough to discuss replacing his brother with Dan Murphy of the band Soul Asylum. But Tommy, then still in high school, wasn’t in any position to redirect his wayward sibling. Up to this point, The Replacements had been limiting their schedule to regional weekend runs so the younger Stinson could be back in class on Mondays.
So, Stark adjusted. “We realized [Bob Stinson’s] lead guitar playing was best between his fifth and seventh beer, and after the seventh beer he was worthless,” Stark says “If he hadn’t had the four, he was worthless, as well.”

It all came together, somehow. Paul Westerberg felt like they’d finally stumbled onto something special, something uniquely their own. He later called Hootenanny “the first album that sounds just like us.” Certainly, it set the table for 1984’s breakthrough Let It Be. A year later, the Replacements were signed by a major label.

Still, seeds of discontent were already sown. Bob Stinson had flatly refused to include the Westerberg ballad “You’re Getting Married” on Stink. (“That ain’t the Replacements,” he reportedly said. “Save it for your record, Paul.”) Westerberg actually recorded this album’s more sensitive “Within Your Reach” all alone. The pair were clearly headed to a critical juncture: “When we played the loud, fast shit, it was his band,” Westerberg says in Trouble Boys, “but I felt like I can only do so much of that. I have to do this [ballad] crap, too.”

Westerberg closed out Hootenanny with “Treatment Bound,” a brutally frank admission.”We’re getting no place fast as we can,” he lamented. But that would change soon. Hundreds of college-rock stations added Hootenanny to their playlists, and it got great reviews. Meanwhile, Tommy Stinson quit school. The Replacements were his full-time job now.
In the spring of ’83, they made their first East Coast trip. The Replacements played CBGB that June. By the fall of 1984, they had released one of the most important albums of the era. Within two years after that, however, Bob Stinson had gone. He didn’t live another full decade.

The Replacements
  • Paul Westerberg – rhythm guitar, vocals (drums on track 1, all instruments on side 2, track 1)
  • Bob Stinson – lead guitar (bass on track 1)
  • Tommy Stinson – bass (rhythm guitar on track 1)
  • Chris Mars – drums (lead guitar on track 1)

Hootenanny sold more than 38,000 vinyl copies. In 2008, The album was remastered and reissued by Rhino Entertainment, containing seven additional tracks.