Posts Tagged ‘The Replacements’

This limited edition and EXCLUSIVE bundle comes with a 14-track cassette featuring highlights from the box along with two additional unreleased tracks: the outtake “Asking Me Lies” and an instrumental of “I Won’t” (Bearsville Version). The cassette also features the original, unused cover art for Don’t Tell A Soul.

Former Replacements bassist Tommy Stinson is the first to admit that his band’s sixth album is not his favorite. When the Replacements made 1989’s Don’t Tell a Soul, their record label was pressuring frontman Paul Westerberg to write songs that could get played on the radio, and the group ended up compromising on the mix of the album. Producer Matt Wallace’s mixes were dismissed, the tapes went missing for years, and the label hired hit-maker Chris Lord-Alge (Steve Winwood, James Brown) put his spin on it. The end result, Stinson and his bandmates felt, was an album that sounded overcooked.

Despite this, or maybe because of this, Don’t Tell a Soul was the group’s highest-charting release, and the jaunty “I’ll Be You” (with memorable wordplay like “dressin’ sharp and feelin’ dull”) and the gentle “Achin’ to Be” were some of the band’s biggest commercial hits. Stinson initially had mixed emotions when he saw the contents of a new box set built around the album, Dead Man’s Pop, but ultimately he came around on it. “The amount of unreleased stuff was surprising,” he tells us from his home in Hudson, New York. “Some of that stuff was seriously never meant to see the light of day for obvious reasons. But when you package it up and look at it in its totality, I get why fans would like that.”

Back in 1987, Minneapolis rock and roll renegades The Replacements famously stole their Twin/Tone master tapes and threw them in the Mississippi River. A year later—while wrapping up work on their Warner Bros. album, Don’t Tell A Soul—the group absconded with a collection of their reels from Paisley Park studios. Thankfully, those tapes were spared a watery fate, and instead stashed away for decades by the band. Now they’ve been recovered to form the basis of The Replacements first-ever boxed set, Dead Man’s Pop.

Although Don’t Tell A Soul ultimately became the group’s best-selling effort, The Replacements were unsatisfied with the sound of the record. The band has radically reimagined Don’t Tell A Soul to create a 4CD/1LP set that features the album mixed as it was originally intended (Don’t Tell A Soul Redux), along with a collection of previously unheard tracks (We Know The Night: Rare & Unreleased), and a classic concert from 1989 (The Complete Inconcerated Live).

The box features a newly completed mix of the album by Don’t Tell A Soul producer Matt Wallace (based on his 1988 Paisley Park mix); a disc of unreleased recordings (including a session with Tom Waits); plus the band’s entire June 2nd, 1989 show at the University of Wisconsin-Milwaukee. In total, the box includes 60 tracks–58 of which have never been heard before.

Dead Man’s Pop features a version of the album mixed the way they had originally intended it to sound, by Wallace. It makes the songs fuller — more like a band — without a lot of the production trickery of the time. There’s also a disc of outtakes, B sides and some radically different-sounding demos the band cut in Bearsville, New York with producer Tony Berg; the volume also features the band’s legendarily sloshy jam session with Tom Waits. It ends with two discs of the full University of Wisconsin performance that ended up on the promo release Inconcernated.

It’s meant for Replacements completists, and Stinson can respect that people would want to hear these things, even if they were a bit shocking to him. “I respect what we have left as a legacy,” he says. “And the diehard fans really appreciate all the bumps and barnacles, and there’s plenty of them out there. I think for a band of our stature — or lack thereof stature — it’s a cool thing. A lot of times, reissue stuff can be sort of trite. I think the ticket is really what Bob [Mehr, producer and Replacements biographer] unearthed and what the people involved thought would be a good thing to include. I think they used good judgment on it.”

Presented in a 12 x 12 hardcover book – loaded with dozens of rarely seen photos – the set features a detailed history of the Don’t Tell A Soul era written by Bob Mehr, who produced the box with Rhino’s Jason Jones, and also authored The New York Times bestseller Trouble Boys: The True Story of the Replacements.

Mehr writes: “While it’s impossible to unhear a record that’s been around for three decades, this version, Don’t Tell A Soul Redux, is the album the band made and intended to release. In addition to Matt Wallace’s mix, Redux also restores several crucial elements from the sessions, including original drums tracks, vocal takes and tempos that were altered in post-production…[and] the band’s original sequence of the album.”

Wallace says: “The true spirit of The Replacements was always there on the recordings we did back in 1988, and now you can hear and feel it clearly…This was the project of a lifetime for me when we recorded it 30-plus years ago, and it’s even truer today as we’ve finally fulfilled our original vision.”

Paul Westerberg, Slim Dunlap, Tommy Stinson and Chris Mars started recording Don’t Tell A Soul in June 1988 with Tony Berg at Bearsville Studios, but the chaotic sessions were cut short and mothballed. Nine unreleased tracks from Bearsville appear on Dead Man’s Pop, including early versions of “I’ll Be You,” “Darlin’ One” and “Achin’ To Be” and the previously unheard “Last Thing in the World.” The collection also features tracks the band recorded with Tom Waits, five of which have never been officially released: among them, “Lowdown Monkey Blues,” “We Know The Night” and a cover of Billy Swan’s “I Can Help.”

The final two CDs of Dead Man’s Pop capture the band performing live in Milwaukee during the “Don’t Tell A Soul Tour.” A few songs from the concert originally appeared on the promo-only EP Inconcerated Live (1989), but the bulk of the 29 tracks included have never been released. The entire show has been newly mixed by Brian Kehew (Ramones, The Faces).

Additionally, Dead Man’s Pop will include Wallace’s Don’t Tell A Soul Redux mix on 180-gram vinyl.

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.

The Replacements

The legendary Replacements embarked on a highly anticipated national tour, fulfilling the wishes of a legion of fans who were either too young or too naive to see them the first go-around. The shows, luckily, were still beautiful fuck-ups. What with Paul Westerberg smoking cigarettes between songs, during songs, even inside a camping tent that was erected on the stage for some reason, and Tommy Stinson leaping around like a kid during “Bastards of Young,” there was little left to be desired. As a message to fans, Westerberg donned a new white shirt each night of the tour, with a spray-painted letter on the front and back. By the end of the tour, the message read, “I have always loved you. Now I must whore my past.” Perhaps that’s enough said.
Record Store Day 2015 Release on 10″ black regular weight vinyl 4 song EP. Originally released in the UK as a 7″. Unlike many of their underground contemporaries, The Replacements played ‘heart-on-the-sleeve’ rock songs that combined Westerberg’s raw-throated adolescent howl with self-deprecating lyrics. They were a notoriously wayward live act, often performing under the influence of alcohol and playing fragments of covers instead of their own material.

This is one of the most beloved songs by the Replacements is “Alex Chilton”. This hook-filled number from their 1987 LP, Pleased To Meet Me,  is a tribute to Memphis musician and fabled cult hero, Alex Chilton (Box Tops, Big Star). It’s been performed during virtually every ‘Mats concert since its release. This includes their 2013-2015 reunion, in which it carried a new weight, as Chilton had passed away in 2010. In 2014, the Replacements appeared on The Tonight Show, and “Alex Chilton” is what they played.

Replacements leader Paul Westerberg first met Alex Chilton at a 1984 gig in New York City. Westerberg, not knowing exactly what to say, blurted out, “I’m in love with that one song of yours—what’s that song?” Chilton would produce the demos for the next Replacements album, Tim   (1985), and sang back-up on their ode to college radio, “Left of the Dial”.

The Replacements recorded Pleased To Meet Me in Memphis at Ardent Studios, the same studio as Big Star. The man behind the board was Jim Dickinson, who produced the storied third   Big Star album. Alex came into the studio a few times while the Replacements were working on the record (and laid down a guitar fill for “Can’t Hardly Wait”), but the band avoided the awkwardness of playing “Alex Chilton” whenever AC was around. Chilton eventually heard the track while on tour with the ‘Mats in April of ’87. He conceded that it was “a pretty good song,” and seemed to appreciate the gesture, which was to both honor him and increase his exposure.

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Robert Plant  –  Carry Fire

Robert Plant releases Carry Fire, his 11th solo album on Nonesuch Records. The self-produced album is Plant’s first since since 2014’s Lullaby and…The Ceaseless Roar. As with that record, Robert is accompanied here by The Sensational Space Shifters, along with some guests, such as Chrissie Hyde and Seth Lakeman.

CD – The CD packaging is deluxe thick card with a beautiful satin finish and is accompanied with a 12-page booklet featuring lyrics.

2LP – Double 140 Gram Vinyl with side four etched. The vinyl packaging is thick card Gatefold with a beautiful satin finish and is accompanied with a 4-page booklet featuring lyrics.

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King Gizzard and the Lizard Wizzard – Sketches Of Brunswick East

Sketches Of Brunswick East is King Gizzard and the Lizard Wizard 3rd album of five in 2017 and a collaboration with LA’s Mild High Club. Just when you think you have King Gizzard and The Lizard Wizard sussed they throw a curveball – in the wake of two albums released in 2017 already, including most recently the dystopian end-times concept album Murder Of The Universe, which tackled in no uncertain terms the rise of robots and the downfall of mankind, comes Sketches Of Brunswick Eastan entirely altered beast. Australia’s finest and most productive rock band have done this before, of course: while the world was still reeling from their 2014 breakthrough psych-punk masterpiece I’m In Your Mind Fuzz (2014) they casually released 2015’s expectation-confounding Paper Mache Dream Balloon (2015), a pastoral, sun-drenched acid-folk album. Sketches Of Brunswick East is a collaboration between King Gizzard and Mild High Club, the Los Angeles based tripster troupe signed to Stones Throw Records and led by Alex Brettin – the two bands formed a strong friendship touring together throughout the USA, Europe, and Australia. Recorded at the band’s own Flightless HQ in East Brunswick, Melbourne Australia earlier this year and mixed at Stones Throw studios in L.A. it’s the third of five projected albums to be released in 2017.

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The Barr Brothers  –  Queens of The Breakers

All versions come with a bonus 5 Track CD of demos. Queens of the Breakers is The Barr Brothers’ finest work yet, a collection of 11 hypnotically fluid songs that speak to the raw, elemental power of reflection, forgiveness, loss, and growing up. The record finds the band, featuring brothers Brad (guitar) and Andrew Barr (drums), and Sarah Pagé (harp), further on their thrilling path of exploring the outer limits of folk, blues, rock and Americana made north of the American border.

LP – Black Vinyl with Download.

LP+ – Gatefold Jacket with embossed titles with 2 pockets open. Translucent Light Blue Single Vinyl hosted in dust sleeves. Limited Edition including 12’’x24’’ Exclusive Folded Poster. MP3 download included.

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Lomelda  –  Thx

Hannah Read has written and performed as Lomelda for most of her musical life. The project has been her outlet from the slow, shaggy days in her east Texas hometown of Silsbee, through moves to Waco and Austin, and into her wandering present. Her music is textural and spacious. Her words are suggestive snapshots of loosely knitted observations, depicting quiet moments between friends and lovers and half-remembered celestial occurrences. In her songs, the memory of the past and glimpses of future stretch out on either side of you, and the present is unsteady and always shifting.

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Courtney Barnett and Kurt Vile  –  Lotta Sea Lice

A conversation between friends, documented in raw, unvarnished song form, brimming with personal history, crackling with energy and shot through with humour – this is the collaborative album of Courtney Barnett and Kurt Vile.Two of the most acclaimed and gifted song writers of our generation Lotta Sea Lice also sees them roping in friends such as Dirty Three, Stella from Warpaint and Mick Harvey to create a body of work that sounds organic and candid. Their shared chemistry is immediately apparent in the breathtaking jam of opener and first single Over Everything, while Continental Breakfast showcases a more melodic side as the two harmonise over finger-picked acoustic guitars. The two pay homage to 90’s cult heroes Belly with a gorgeous cover of their classic Untogether and even celebrate their mutual respect by covering each other’s music later in the album. This is an intimate glimpse into the shared musical world of Courtney Barnett and Kurt Vile.

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HMLTD  –  Satan, Luella and I / Kinkaku-ji

HMLTD have emerged over the last twelve months and established themselves as the most thrilling and vital new band in years. Music, fashion and art collide to create an assault on the senses, their highly-individual pop a whirlwind of creativity and ideas. Satan, Luella and I is the latest instalment, following the singles To The Door and Stained. It’s a six minute kaleidoscopic, rapturous musical joyride. Flamboyant and freewheeling, the band’s imaginations have created a musical world that envelops the listener. The track is backed by live favourite Kinkaku-ji. Natural born performers, their live shows are already a vital experience as they turn each room they play into their own, blurring the lines between concert and exhibition, and between performers and audience.

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Josienne Clarke and Ben Walker The Birds EP

Rough Trade Records release The Birds EP as a very limited edition 12” – 650 copies worldwide. The Birds is a suite of six songs that explore the themes of migration and departure. These are songs of autumn and shorter days, of flying south and the first feelings of early winter. It is deliberately dark and melancholic and ever so slightly sinister in places. In contrast to the full band-sound so exquisitely captured on their 2016 album Overnight, Josienne and Ben chose to record in a minimalist way using only instruments that they could play in Ben’s basement home studio. It also allowed Ben the opportunity to experiment with Moog and drum machine rendering the songs with a subtle electronic text.

The Who, Tommy  – Live at the Royal Albert Hall

In spring 2017, in support of the Teenage Cancer Trust, The Who played the classic Tommy in full, plus an encore set of seven greatest hits at London’s historic Royal Albert Hall.  This release includes every song from the 24-track studio album performed live, including Side Four’s “Welcome”.  Available in a variety of physical formats plus digital video and audio.

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King Crimson – Official Bootleg: Live in Chicago, June 28th, 2017

Two CD set, taken from the band’s most recent US tour. Media-book presentation with 24 pages booklet featuring photography by Tony Levin & David Singleton. Sleeve Notes by Robert Fripp & David Singleton. Featuring many iconic King Crimson pieces performed live by this line-up for the first time – some being played live for the first time ever, including: Islands, The Lizard Suite, The Errors, Fallen Angel, Cirkus & more.. “If we are looking for a KC live (show); Chicago was exceptional” – Robert Fripp “One of our best” – Tony Levi.

The replacements liveatmaxwells

The Replacements –  For Sale – Live at Maxwell’s 1986

Super limited copies with promo stuff – Postcards, Matches, Cut out figures and posters. In February 1986, The Replacements performed a classic live show at Maxwell’s in Hoboken, NJ. Until now, that pristine recording of the legendary performance has only been available in low-quality bootleg form. Even so, Pitchfork has called the show “a fiery, focused set that would make a true believer out of any skeptic.” For Sale: Live At Maxwell’s 1986 finally make its commercial debut as a double-LP. This marks the first live album by the band to see an official release on this format. The show at Maxwell’s would prove to be one of the last great performances by the four original members of the Replacements, a much beloved line-up including Bob Stinson on guitar, before his departure from the band in 1986. The songs they played spanned the band’s entire history while giving prominence to new material from Tim, including Bastards Of Young, Left Of The Dial and Kiss Me On The Bus. Mixed in were favourites like I Will Dare from Let It Be (1984) and Color Me Impressed from Hootenanny (1983). The original 24-track master tapes of the show sat in the Warner Music vaults until being given a proper mix in 2007, but it would still be another decade before the concert would get its official release. Mehr writes in the album’s liner notes: “Now, a decade later, and more than 30 years after the original concert, Replacements For Sale finally offers high-fidelity proof of the peculiar alchemy and unadulterated majesty of one of rock and roll’s greatest bands.”

2CD – Gatefold Softpack with Booklet.

2LP – Double 140 Gram Vinyl housed in Gatefold Sleeve.

Various Artists  – Woody Guthrie, The Tribute Concerts

There’s no shortage of celebrations for the legendary folk troubadour, but few as star-studded as the landmark concerts held in 1968 at New York’s Carnegie Hall and then in 1970 at the Hollywood Bowl.  These remarkable affairs saw Guthrie collectively saluted by such luminaries as The Band, Bob Dylan, Odetta, Joan Baez, Jack Elliott, Arlo Guthrie, Country Joe McDonald, Richie Havens, Tom Paxton, and Pete Seeger.  Bear Family has boxed up these amazing pieces of history as a lavish 3-CD box set that’s not to be missed!

 

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The Replacements were always going to be a risk for any label to sign in the mid eighties. The band’s reputation for sloppy live shows, drunken interviews and overall contempt for anything resembling self promotion was already legendary. Not that any of this ever worried the band, when Sire eventually signed the Mat’s in 1986 they seemed more concerned with keeping up with their local rivals Husker Du (who had just signed to Warners) than proving any doubters wrong.

Paul Westerberg always seemed to understand that for the kind of band he was going to run, danger was a part of deal. Indeed, the Replacements seemed to revel in it. One of their very first songs was a tribute to Westerberg’s great hero and soon-to-be inevitable heroin casualty Johnny Thunders. On “Johnny’s Gonna Die,” Westerberg sings with an offhand casualness: “Johnny always takes more then he needs / knows a couple chords / knows a couple leads / and Johnny’s gonna die.” The sentiment is decidedly not, “Hey, we should probably do something before Thunders finally kicks it!” It’s more like he’s noting the weather outside, an absolutely prosaic dispatch. Westerberg even ends the song with a sort of cheerful refrain of “bye, bye” — it was 10 years before Thunders would finally leave the building, but the Replacements had already skipped ahead to the eulogy.

For all of the tremendous hilarity surrounding the band’s legendary antics, the Replacements’ story is far more tragedy then comedy. The band wasn’t a suicide pact, but they were a sort of four-man Russian Roulette game. Excess bordered on mandatory. A much-repeated (and unconfirmed) story tells of Westerberg confronting the deeply troubled and dependent founding lead guitarist Bob Stinson before a show when Stinson had just finished 30 days in a detox clinic. Westerberg brings him a bottle of champagne and tells him: “Either take a drink, motherfucker, or get off my stage.” It doesn’t matter so much if this is true or not, simply because it is plausible. Being wasted was Bob Stinson’s brief in the Replacements — he really wasn’t good enough a technical player to keep around sober and levelheaded. The fact that he was eventually fired for being overly erratic is an unamusing irony.

All Shook Down [Explicit]

‘All Shook Down’ (1990)

The band’s final LP gets punished for what it’s not – a real Replacements record. Paul Westerberg began ‘All Shook Down’ as a solo effort and only shifted to include his bandmates during sessions. On its own merits, and stripped of ‘Don’t Tell a Soul’’s misguided bombast, the album is pleasant. It is fine. The steady “Merry-Go-Round” has a nice hook and Paul’s sleeve-hearted storytelling is solid – even if, as he looks back, Westerberg takes his band’s legacy more seriously than the boys did in the moment). But middling tempos and hushed shuffles make ‘All Shook Down’ the audio equivalent of beige. Stuck between being a Replacements record and a solo debut, the album doesn’t satisfy in either way. Westerberg’s pen is typically astute and nimble here, noting the soon-to-be-disastrous marriage depicted in “Nobody” and the fractious future of an unsettled newborn in “Sadly Beautiful.” It’s an album reckoning with the consequences of all that has come before. On the final track the band would ever release, “The Last,” Westerberg ruefully acknowledges: “It’s too late to run like hell.”

Rhino Records announced it will release a live double album recorded by the beloved original lineup of The Replacements, a fabled February 1986 show at Maxwell’s in Hoboken, N.J., that found the band blasting through a 29-song set of album tracks, B-sides and covers.

The release, For Sale: Live at Maxwell’s 1986, had been hinted at on the band’s Facebook page . The album will be released October. 6th as a 2CD and 2LP set, as well as digital download and streaming. It’s the band’s first live album since 1985’s cassette-only The Shit Hits the Fans.

TAKIN' A RIDE WITH THE REPLACEMENTS

According to Rhino’s announcement of the album:

The show at Maxwell’s would prove to be one of the last great performances by the four original members of the Replacements, a much beloved line-up including Bob Stinson on guitar, before his departure from the band in 1986. The songs they played spanned the band’s entire history while giving prominence to new material from Timincluding “Bastards Of Young,” “Left Of The Dial” and “Kiss Me On The Bus.” Mixed in were favorites like “I Will Dare” from Let It Be (1984) and “Color Me Impressed” from Hootenanny (1983). But it was songs from the band’s first album — Sorry Ma, Forgot To Take Out The Trash (1981) — that seemed to summon their best on furious versions of “Takin’ A Ride” and “I’m In Trouble.”

The show was recorded on a 24-track mobile studio at the time, but never released. The master tapes sat in Warner Music’s vaults until 2007, when they were given a “proper mix,” though it would take another 10 years before the live set would see release.

Replacements biographer Bob Mehr writes in the album’s liner notes:

“Now, a decade later, and more than 30 years after the original concert, Replacements For Sale finally offers high-fidelity proof of the peculiar alchemy and unadulterated majesty of one of rock and roll’s greatest bands.”

Tracklist: The Replacements, For Sale: Live at Maxwell’s 1986

Disc 1
1. “Hayday”
2. “Color Me Impressed”
3. “Dose Of Thunder”
4. “Fox On The Run”
5. “Hold My Life”
6. “I Will Dare”
7. “Favorite Thing”
8. “Unsatisfied”
9. “Can’t Hardly Wait”
10. “Tommy Gets His Tonsils Out”
11. “Takin’ A Ride”
12. “Bastards Of Young”
13. “Kiss Me On The Bus”
14. “Black Diamond”

Disc 2

1. “Johnny’s Gonna Die”
2. “Otto”
3. “I’m In Trouble”
4. “Left Of The Dial”
5. “God Damn Job”
6. “Answering Machine”
7. “Waitress In The Sky”
8. “Take Me Down To The Hospital”
9. “Gary’s Got A Boner”
10. “If Only You Were Lonely”
11. “Baby Strange”
12. “Hitchin’ A Ride”
13. “Nowhere Man”
14. “Go”
15. “Fuck School”

This live concert of the great band The Replacements playing Philly this day in 1986.

The gig in question took place 30 years ago on the 6th of February as Westerberg, Stinson, Stinson and Mars toured in support of their 1985 record Tim. It’s a brutally loud audience recording that captures the energy of the room in the best way imaginable – and the chaos is all the more entertaining for being set in the stately Huston Hall on the University of Pennsylvania campus. 

The setlist is 27 songs packed into an hour and fifteen minutes, from “Tommy Gets his Tonsils Out” to “Take Me Down To the Hospital,” with a half dozen covers of The Ramones (“I Don’t Want You”), Chuck Berry (“Maybelline”) and more.

“Thirty years on and this show still sounds as solid as it must have to attendees back then.”

When The Replacements ended their 33-show reunion tour in June 2015, founding bassist Tommy Stinson walked away with his head held high. Armed with a pocketful of new songs and a clean slate, he holed up in his home studio in Hudson, NY and played solo tour dates with a group of A+ players/friends backing him, including Luther Dickinson, Frank Ferrer, Cat Popper, Steve Selvidge, and Joe “The Kid” Sirois. They had more fun than humans should be allowed to have, and over the next year and a half they pieced together a brand new record. Bash and Pop A new band record with 1/4 of The Replacements is better than none. This is everything I love about rock and roll.. all rolled into one great song.

The group performs a song off their album ‘Anything Can Happen.’ Which is exactly what happens – watch this one to the end! from the Stephen Colbert Show.

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Tommy Stinson, his Bash & Pop mates and Fat Possum Records are proud to present to you “On The Rocks,” the first new track from Anything Could Happen, the long-awaited follow-up to the band’s 1992 debut, Friday Night Is Killing Me. Find it in stores January 20, 2017. Check out the Official video here:

KATY GOODMAN + GRETA MORGAN | TAKE IT, IT'S YOURS

Katy Goodman of La Sera and Greta Morgan of Springtime Carnivore have teamed up for an album of punk covers entitled Take It, It’s Yours. The LP features the duo’s takes on songs by the Stooges, Blondie, Bad Brains, and a number of other classic outfits. Morgan provided us with some background behind the project’s origin:

The concept of the record began last September when Katy and I were messing around learning Misfits songs on guitar in my backyard. Once we started singing ‘Where Eagles Dare,” we couldn’t stop. Having female voices and girl group harmonies with the lyrics “I ain’t no goddam son of a bitch, you better think about it, baby” felt like a riveting turnaround.
The lead single from Take It, It’s Yours is a cover of The Replacements’ “Bastards Of Young,” the song from which their album title derives its inspiration. Opening not with a tin wire guitar riff but rather a reverb-dipped breeze reminiscent of Real Estate, Goodman and Morgan sweetly sing Paul Westerberg’s opening lines, “God, what a mess, on the ladder of success/ Where you take one step and miss the whole first rung,” as if they actually came from the last Jenny Lewis album. Replacing Westerberg’s guttural throttle with these women’s harmony-driven delivery shifts the original’s mood of dissatisfied confrontation towards one of sardonic defiance. Oddly enough, they omit the “Take it, it’s yours” section of the original.

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Replacements; Disastrous; Saturday Night Live; Debut

The Replacements were one of the most exciting bands to bubble up from the American underground in the Eighties. By the middle of the decade, their chaotic live shows were becoming the stuff of legend, and the band’s resident genius, singer-guitarist Paul Westerberg, was writing raggedly heartfelt songs that suggested something resembling an actual commercial breakthrough.

In 1985, the band released their major label debut, Tim, and hired an established New York management company called High Noon — in the process moving longtime manager Peter Jesperson into a murkily defined role of “band advisor.” But guitarist Bob Stinson’s drug and mental health issues were spiraling out of control, internal tensions were ripping the band apart, and their legendary tendency towards self-immolation was about rear its ugly head at exactly the wrong time — their first national TV appearance ever. When Warner Bros. Records landed them a slot as musical guest on an episode of Saturday Night Live in early 1986, their performance enraged the show’s producers and threatened to submarine the Replacements’ chance at mainstream success.

In mid-December of 1985, the Replacements wrapped up a month-long tour with two triumphant nights at Hollywood’s Roxy. The year-end accolades for Tim were starting to pour in: it would place second in the Village Voice’s “Pazz & Jop” poll, just behind Sire labelmates Talking Heads. But the praise had done little for the album’s commercial prospects: Tim had stalled at a modest 30,000 copies after three months, failing to crack the Billboard top 200. The label needed something to kick-start sales.

In California, Westerberg and Jesperson were summoned to Burbank to meet with Warner Bros. creative director Jeff Ayeroff, who wanted to change the band’s hardline stance against making a video. Silver-haired and hulking, Ayeroff exuded a sort of Zen-hipster arrogance. He’d already overseen video campaigns for the Police’s Synchronicity and Madonna’s Like a Virgin.

“I don’t wanna hear about the fact that you don’t want to make a video,” Ayeroff said. “I want to talk about the video that you will eventually make.”

“Tell you what,” said Westerberg, without missing a beat, “you get us on Hee-Haw and I’ll lip-synch to ‘Waitress in the Sky.'” At this, Jesperson burst out laughing. Ayeroff wasn’t amused. Nevertheless, a serious conversation began about Warner Bros. getting the band on television. “The compromise was that we’d do live TV if they could swing it — thinking that they couldn’t,” said Westerberg. “Me and my big mouth.”

First, Ayeroff sent a letter to Saturday Night Live music booker Michele Galfas touting the group. Then the ‘Mats’ product manager, Steven Baker, and Warner A&R head Lenny Waronker pressed label chairman Mo Ostin to put in a call to the show’s creator/producer, Lorne Michaels. “Mo was the one who got them on Saturday Night Live, because he had such a strong relationship with Lorne,” said Waronker. “There was an understanding how important they could be for the company.”

Replacements; Disastrous; Saturday Night Live; Debut

Based on Warner Bros.’s faith, Galfas put the ‘Mats on a shortlist of acts for the show — without having seen the band play live. “That,” said Galfas, “may have been a mistake.”

The show’s eleventh season team included a mix of first-generation SNL writers and producers, hot young actors (Anthony Michael Hall, Robert Downey Jr.), veteran performers (Academy Award nominee Randy Quaid), and rising stand-ups (Dennis Miller, Damon Wayans). The opener had featured Sire Records supernova Madonna as host and musical guest. The premiere was a ratings winner, but a critical loser.

In early January, NBC chairman Grant Tinker was asked for his assessment of Saturday Night Live. “It’s a hard job to keep a show like that fresh and alive. … I’d like to give it the benefit of the doubt,” said Tinker ominously, “for a little while.”

As 1986 dawned Bob Stinson’s drinking escalated, and his involvement with the Replacements became even more strained. The band had effectively recorded Tim as a trio. Now Westerberg, bassist Tommy Stinson and drummer Chris Mars were rehearsing without him on a regular basis.

With Bob in tow, they did return to the stage on January 11 at Chicago’s Cabaret Metro. The one-off gig was a tune-up for an East Coast tour scheduled to commence later in the month. When the group arrived back home from Chicago, they got word that a last-minute slot had opened up on Saturday Night Live. The Pointer Sisters, scheduled for that week’s show, had to cancel. The band was going to make their national television debut, fittingly, as replacements.

Harry Dean Stanton would host the January 18th edition of SNL. One of the more offbeat choices in the program’s history, the fifty-nine-year-old character actor was enjoying a late-career surge thanks to hip directors like Wim Wenders and John Hughes. The episode would also feature controversial stand-up comic Sam Kinison as a special guest, as well as the Replacements — a potential powder keg of a lineup.

The ‘Mats arrived in New York on Wednesday and did a run-through at NBC’s studio 8H Thursday morning. It was clear from the outset that this was not the wild-and-crazy SNL of the seventies. “They’d stocked the dressing room with breakfast stuff — fruits and juices,” recalled Peter Jesperson. “Bob wanted beer. And the people at SNL were really, really appalled by this. I had to go down and find a store in Rockefeller Plaza and get a six-pack.”

“They didn’t like us too much down there,” Bob Stinson would recall. “They pretty much ignored us, thinking we would probably crumble — when, in fact, it was quite the opposite.”

The show’s uncertain status was palpable even to outsiders. “We could feel that the show wasn’t funny and wasn’t popular at the time,” said Jesperson. As it turned out, a number of NBC affiliates had already committed to preempting Saturday Night Live that week in order to air a syndicated cerebral palsy telethon. (The episode was shown on late-night tape delay in numerous markets, including the band’s hometown of Minneapolis.)

Oddly, the ‘Mats toyed with performing “Answering Machine” on the show. Warner Bros. was understandably miffed that the group would use the SNL spot they’d lobbied for to play a number released on the band’s former label, Twin/Tone. Finally, the band settled on “Bastards of Young” and Tim’s putative single, “Kiss Me on the Bus.”

During rehearsal, Westerberg recalled SNL’s soundman working on a crossword puzzle. He’d occasionally glance at the decibel meter, then yell at the band to turn it down. “They told us the scream at the beginning of ‘Bastards of Young’ wouldn’t come across on TV,” said Paul.

The ‘Mats’ lawyers and label benefactors showed up Saturday to wish them luck. The band members’ significant others had flown out for the occasion; even Twin/Tone’s Paul Stark made the trip. Coincidentally, Stark had attended prep school in Minnesota with SNL writer-producers Tom Davis and Al Franken, and he spent time catching up with them on set.

By that evening the band’s reputation as a handful was clear to everyone on the show’s staff. None of the Replacements realized they’d be trapped on the eighteenth-floor set from sound check till showtime. When Warner Bros. publicist Mary Melia arrived to look in on them, Tommy, Paul, and Chris were on a dressing room couch, watching uncomfortably as Bob paced like a caged animal. “He was out of his mind to leave,” said Melia. “Bob was scary.”

To soothe the band’s nerves, soundman Monty Lee Wilkes smuggled some alcohol into the studio in a little road case. As the ‘Mats began to dip in, the show’s host said hello. When “Harry Dean stuck his head in, we asked him to have a snort,” recalled Westerberg. “He slammed the door behind him and proceeded to gulp.” Word began to circulate that the host was getting drunk mere hours before the live show. Panic ensued until a production assistant dragged Stanton out of the band’s dressing room.

Sufficiently lubricated, the ‘Mats’ dress rehearsal set went off smoothly. Bob had wowed everyone by donning a striped lady’s unitard. The only hitch occurred during “Bastards of Young” — Bob was late coming in on the solo. Westerberg would make sure he didn’t miss his cue during the live broadcast.

Episode seven of SNL’s new season was yet another dog: weak commercial spoofs, a one-joke send-up of Miami Vice set in Cleveland, a hackneyed Western gunfighter skit. Stanton was still wearing his frontier finery when he introduced the band just after midnight.

As the group blasted the opening notes of “Bastards of Young,” the cameras practically recoiled at the volume. Following the dress rehearsal, the ‘Mats had secretly turned up their amps; it took a few seconds for the engineers to turn the sound down.

Mars, looking pale and antic in denim overalls, bared his teeth as he played; Tommy bounced around vigorously, ignoring any notion of camera blocking, and was mostly out of frame; Bob hunkered down to wrestle manfully with his guitar, a comic counterpoint to his flowing, feminine outfit.

Westerberg performed in a state of drunken insouciance. Several times during the song he walked away from the mic in the middle of a verse and casually strolled around the stage as if they were jamming in Ma Stinson’s basement and not to a television audience of eight million. “We just pretended we weren’t on camera,” he recalled.

As the solo break approached, Westerberg shouted toward Bob, just off mic: “Come on, fucker.” The epithet, delivered as he turned his head, slipped past the censors. “It wasn’t really something I planned,” he said. “It was more me saying to Bob, ‘Let’s give it to ’em with everything we got.'”

Quickly, however, the show’s producers realized that an obscenity had gone out live on the air. Producer Al Franken, standing in front of the band and gripping a clipboard, began to frown. Westerberg gave him an exaggerated vaudeville wink.

After Mars bashed out the climactic machine-gun coda, “Bastards” careened to a halt. Tommy and Paul bowed comically. Bob followed with a backward somersault, revealing a tear in the seat of his outfit — his bare ass flashed briefly on-screen. The crowd, packed with ‘Mats partisans, cheered wildly. Most people in the studio audience had missed Westerberg’s obscenity. But Lorne Michaels hadn’t.

SNL had a troubled history with the F-word. In 1981 cast member Charles Rocket had said it during a Dallas spoof; the slip led to Rocket’s firing and loads of bad press for the program. “The whole deal with the network, in my mind, is that we operate on a level of trust,” said Michaels. “We have live air.” The producer was already on edge about SNL’s precarious position with NBC. Any kind of controversy, especially now, could be a fatal blow to the show.

Jubilation followed the ‘Mats to the dressing room. Everyone agreed they’d delivered a momentous performance. Newly minted Replacements co-managers Russ Rieger and Gary Hobbib were busy shaking hands and slapping backs when there was a knock at the door. “An assistant told me, ‘Lorne Michaels wants to see you in the hall,'” said Rieger. “I’m thinking he wants to congratulate us.”

Instead, Michaels stormed up and began to berate Rieger loudly: “How dare you do this? Do you know what you just did to this show? Your band will never perform on television again!”

Rieger was genuinely perplexed as to the cause of Michaels‘ anger. “Finally, I figured out that Paul had said ‘fuck’ on the air,” said Rieger. “I immediately started apologizing. Michaels wouldn’t hear of it. Since we were a new band and young, and a favor for Warner Bros., he could unleash. And he did.” Mid-tirade, Michaels caught a glimpse of the dressing room — the band had “redecorated” it. “He saw that and reamed them a new asshole,” said Hobbib. “It was horrible.”

Michaels’s fit cast a pall over the band, but there was still another song to do. After Kinison’s stand-up set and several more sketches — including one called “Barroom Drunk” — the ‘Mats went back out to play “Kiss Me on the Bus.” Perhaps a bit unnerved, the band botched the count-off and had to start the song twice. They quickly recovered, though, and played a gleeful, grooving version.

 

They were quite a sight too: during the break, Paul, Tommy, and Chris had all changed clothes with one another. “I was in the bathroom getting high,” said Bob. “I had no idea those three had switched clothes, I didn’t even know until I saw the playback.”

During the guitar solo, Michaels and the network censors held their collective breaths as Tommy sauntered toward Westerberg’s microphone. Grinning, he sarcastically whined, “Darn it!” The performance ended with Bob shouting, “Thank you!” and hurling his Les Paul behind his head — the guitar crashed in a heap of feedback. “Rock-and-roll doesn’t always make for great television,” said Westerberg. “But we were trying to do whatever possible to make sure that was a memorable evening.”

The ‘Mats returned to the stage for the end-of-show good-night. Aside from Bob, mugging behind cast member Joan Cusack, the rest of the band joked among themselves on the fringes, departing before the credits finished. Afterwards, band and entourage headed to the post-show wrap party at Café Luxembourg. When Michaels saw Rieger, he summoned him over to his table. “He proceeded to dress me down a second time in front of a bunch of people. I looked at him like, ‘Are you getting great pleasure out of this?’ But there was nothing I could do. All I could think about was him calling Mo Ostin.” Michaels may have been running hot, but the rest of the cast was decidedly cold. “We were ignored by everybody,” said Michael Hill. As Bob Stinson put it: “They put their noses up at us, and we spit up their nose hole.”

Later that night, Bob Stinson returned to the Berkshire Hotel and, in a chemical-fueled rage, proceeded to tear up his room, breaking a door, smashing a window, and shattering a pair of phones. He then got into a violent argument with his fiancée Carleen Krietler, who emerged the following day visibly battered. “She came out all bruised up,” recalled Tommy. “It was troubling how much they fought. It was really dark and fucked-up.”

Westerberg had been shielded from Bob’s previous assault incident and the extent of his mental and emotional troubles. But now everyone — including the label — was becoming aware just how deep his problems ran.

On Monday, when Michaels got the $1,100 bill for the hotel damages, he hit the roof again. He was threatening to ban not just the ‘Mats but any Warner Bros. act from appearing on SNL. In one night, the Replacements had managed to destroy a decade of cozy relations between the show and the label. “After that, we had to start over with half the executives at [Warner Bros.],” said Gary Hobbib.

“I didn’t get it,” said Steven Baker. “I saw the performance and thought the Replacements were great.” Eventually, the hotel damages were paid for, the label issued apologies, and Michaels was soothed. “He was willing to let it go because of Mo,” said Baker.

A couple of weeks later, Baker was invited to dinner with Ostin and Michaels at the Ivy Restaurant in Los Angeles. SNL cast members Jon Lovitz and A. Whitney Brown joined them. When they found out about Baker’s role in the Replacements’ booking, the table began to tear into him. “They were being jerks,” said Baker. “I remember saying to them, ‘If John Belushi was on the show, he probably would’ve been up there playing with the Replacements.’ They had no sense of humor about it.”

A couple months later, NBC’s brass decided to cancel Saturday Night Live; only a last-minute reprieve gave Michaels another year to right the ship. SNL would soon return to ratings glory and cultural prominence.

The Replacements wouldn’t appear on American television for another three years.

Trouble Boys; Replacements; Bob Mehr