--===---===---===---===---===---===---===---===---===---===---===---===---===-- Note: The file below may have several references to old addresses for the //Skyway\\. The new, correct addresses are: ** Skyway listserver: majordomo@novia.net ** Skyway submissions, to write to Matt: skyway@novia.net --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- // The Skyway \\ (c) 1993 Bastards of Young (BOY/BetaOmegaYamma) Productions --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- ** Subscriptions, comments, contributions: ** --> skyway@phoenix.creighton.edu <-- ** Manager: ** skyway@phoenix.creighton.edu --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- The manager of this list, Matthew Tomich, and the school's facilities that this list is produced from, Creighton University of Omaha, Nebraska, are not responsible for the contents of the following mailing except for that which they themselves have originally contributed. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- TABLE O' CONTENTS July 1st, 1993 -------------- * Administrative drivel * Bash & Pop album review * 14 Songs -- your comments * 14 Songs Westerberg interview from the limited edition release * Westerberg concert preview * Bash and Pop concert reviews * A Question... * Who's your favorite: [Smokin' and Drinkin' Bob Stinson] - or - [Slim "Bob" Dunlap]? * The lyrics to "Answering Machine" * Who's the punk runnin' this list, anyway? --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- ADMINISTRATIVE DRIVEL: Well. We're back. After problems with the mail program, the aliasing program, users coming and going, me going to New York, and trying to find a job, the Skyway is back. If some the stuff in this mailing looks familiar, then GOOD! It was from a mailing that I attempted to send everybody about a month ago (and found out that everybody wasn't necessarily getting it). If you don't recognize half the stuff here, then it's okay: you're caught up. You didn't miss anything. It's all here. I sent a mailing to everybody on the list to write back to me if they wanted to keep receiving the Skyway. This wasn't to flush out the unresponsive, but rather to find out who was still there for the summer! Everybody that wrote back is now on the summer Skyway member list. Which reminds me: all your Skyway mailings will only have 11 or less names attached to the header. This doesn't mean that there's only 11 people subscribed...it's just that I send out the mailings to eleven people at a time. This is to cut down on huge, lengthy headers like you might to have had to deal with in the past. Oh yeah, remember that survey that some of you received (and some of you even returned?) Well, I got about halfway through compiling the answers until I ran into a problem...the survey's been updated and changed so many times that almost none of the surveys match up. So, to alleviate the problem, I'm resending out the survey to everyone on the list. (There should be a copy of it following this mailing.) Thanks to everybody who sent one in before, and if it's not too much hassle, it'd be great if you could send it in again. (Some of the questions on the old survey were a bit outdated, but there was one which in hindsight got some interesting answers: most of you replied that you thought the new Westerberg album would sound like "All Shook Down". So now that "14 Songs" is out, what 'Mats album, if any, does it sound closest too?) Some text files are available. Just write to me and I'll send them right out to you. Also available by request are: * The transcribed lyrics to "Pleased to Meet Me" * The entire subscription list to the Skyway * A compiled "best of" the Skyway that I've kept updated * A compiled discography * an coming soon, a list of available audio/video copies of Replacements shows, interviews, etc. (see paragraph below) Video and audio copies of past Replacements shows are out there on the list! I'm in the process of making a file of everybody's holdings so it can be sent to people who are interested in trading. If you'd like to be included on this list, write me with your 'entry' to Trading List and I'll add it on. Make it as long as you want, put a logo, descriptions, lengths (very helpful), ratings on the quality (A, B+, D, etc.), your trading terms, whatever you yourself would find helpful. (Also, it seems like people on the list are also big stockholders in other Minneapolis bands' wares, so it might be helpful to say what other bands you have bootlegs of.) And a final note: THIS IS NOT A MAIL DEFLECTOR. Send everything to one address. Your contributions. Personal letters to me. Subscription/removal requests. Narcotics orders. (Just kidding there.) Everything is one address: ----->> skyway@phoenix.creighton.edu <<----- (at lovely Creighton University in Omaha, Nebraska.) Long time subscribers of the Skyway might remember the old address. Anything sent to there will automatically be forwarded to me. In the fall, we'll go back to the old address. (And the system's been upgraded, so the address will be a little more reliable this time around. I'll repost the old address and everything when the time comes.) Keep in touch. Send in those concert reviews and your opinions of "14 Songs" or debate about your favorite album. If you have concert dates, send those in too...I'll work on compiling a list... The next 'issue' won't take this long. I promise. (Unless they delete the mailer from the mainframe again.) -- Matthew Tomich, list manager ADDITION: I spent the July 4th weekend in Kirksville, Missouri after (unsuccessfully) attempting to upload this file to the mainframe the night before I left. (The computer goes down at 2 a.m. every night for backups. Why? I have no clue.) And then, while I was down there, my tran$mi$$on broke down. I was stuck for five days. (Thanks to all my friends who put me up.) So that's why this damn thing is more late ever before. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- Here's another review of Bash and Pop's "Friday Night is Killing Me". It's out of a regional Midwest music newspaper, The Note. ----------------------------------------------------------------------- (* * * 1/2 out of * * * *) "Tommy Stinson started playing bass for the Replacements when he was 11 years old, and if that thought doesn't turn a parent's hair white I don't know what will. While your average '80s teen was watching /Miami Vice/ and worrying about next week's algebra quiz, Mrs. Stinson's little boy was playing CBGBs and probably trying to score some king- hell penicillin, lest the one who said her name was Pamela last night happened to have more than just an infectious personality. That band stopped, but Tommy Stinson didn't. Touchy point: the 'Mats were one of the greatest rock'n'roll bands ever, and how do you follow that? Stinson has followed it with Bash & Pop - twin guitars, bass, drums, and a barful of early '70s attitude. Stinson's turned in a bass for a six string and handles the singing and songwriting. B&P is a pretty swell rock'n'roll band that's going to have to club its way through an ugly mob of critical comparisons, because at first listen the first five songs that open /Friday Night is Killing Me/ sound a lot like The Faces. I mean, they /really sound like the Faces/ - alcohol-fueled, mid-tempo rockers that feature the kind of fun, fat, jangled guitar that got Ronnie Wood the gig he's been working the past few years. That, combined with the fact that Stinson's voice is indistinguishable from "Maggie May"-era Rod Stewart (the resemblance is eerie) means that, well, lots of people are going to compare Bash & Pop to Faces, or to the Stones, or God forbid, to the Black Crowes. Pay no mind, and don't judge the record by "Loose Ends", the tune you're going to hear on the radio. Tie down all the furniture, tape the windows, wrap the lamps in newspapers, ask your neighbors to take a long walk and skip directly to "Fast and Hard". That's what a riot would sound like if someone with a guitar were running it. "Fast and Hard" and the title cut show off what B&P do best when they're playing loud, and that is cop your basic 70's ragged-edge, two- guitar-big-drum AOR sound of 20 years ago and punch it out over a rhythm section that grew up listening to Black Flag. There's a definite 90s nervousness underneath the happy excess of the band, a sound that suggests the Beast is not only on the loose, but is waiting backstage. Stinson is a talented songwriter with a wicked flair for lyrics - when he sings "I've got my attitude and my shiny shoes" you instantly recall every barroom player with big hair you've ever seen - and his ability to slow down without losing his edge. "Nothing" and "First Steps" are earnest, melancholy ballads with a touch of early Neil Young angst. The four players (Bashers? Popsters? Bash-and-Poppers?) mesh in the way really terrific bands - Crazy Horse, the Heartbreakers, Mellancamp's back line, and yes, dammit, the Faces - always do, which is to say they sound tight and loose at the same time. Stinson and Steve Brantseg trade exuberant-yet-depraved guitar licks, while Kevin Foley on bass and Steve Foley on drums try to pound the room walls down in a way that suggests they're brothers who once slept in the same room. One clinker: "Tickled to Tears" sounds too much like mediocre Rod Steward, which is mediocre indeed. Other than that, it's a well- crafted and impressive debut." -- Patrick Quinn ====================================================================== THE PAUL WESTERBERG "14 SONGS" SECTION ====================================================================== From: Brian Lindeman (LINDEMANBRI@bvc.edu) Date: Tue, 15 Jun 1993 20:26:32 -0500 (CDT) Subject: *14 Songs* -- my first impressions Remember when Westerberg and company dropped gems like 'Skyway', 'Here Comes a Regular', and 'Unsatisfied' into ass-kicking rock and roll albums? Well, *14 Songs* is nothing like that. Imagine *Don't Tell a Soul* slowed down and then add a coupla saxophones. You'd have a good idea of what *14 Songs* is like. My first impression was that someone slipped me a little Air Supply by mistake. Okay, I've only listened to it once, and I'm being harsh. But this is not what I expected, especially after reading the _Spin_ review. I'm guessing the reviewer quit listening after the first track, which flirts with having some guts. To be fair, there are a few good tracks. But don't expect *Tim*. Don't expect *All Shook Down*. Don't even expect 'Dyslexic Heart'. Expect about *Six Songs*. Can you tell I feel let down? Brian Lindeman | call me Lary LINDEMANBRIA@bvc.edu | It is unlikely that the opinions expressed above are the opinions of Buena Vista College -- blame me. ---------------------------------------------------------------------- From: Bill Kelly Date: Fri, 18 Jun 93 10:25:43 +0200 Subject: 14 Songs out in Zurich I found '14 Songs' at Jama Rico, probably the best record shop in Zurich. Could only listen once through last night, but quietly as my roommate was asleep already. Seems to span Paul's usual range from folk to kick-ass chaos. If your record store doesn't have it yet, plead, cajole, or threaten! Bill Kelly bllklly@olsen.ch ---------------------------------------------------------------------- From: Brian Lindeman (LINDEMANBRIA@bvc.edu) Date: Wed, 23 Jun 1993 10:56:36 -0500 (CDT) I like 14 Songs a lot more than when I wrote my last hateful note about the album. I was hoping for a different style, but I think I can still enjoy this one. So far, Tommy is definitely my favorite of the solo albums (although I haven't heard Chris' second effort). Soul Asylum and Screaming Trees tomorrow (and Spin Doctors :(. I haven't seen Pirner and company in about four years, so looking forward. Seeya. Brian Lindeman | call me Lary LINDEMANBRIA@bvc.edu | It is unlikely that the opinions expressed above are the opinions of Buena Vista College -- blame me. ---------------------------------------------------------------------- From: Kunta Kinte Date: Wed, 23 Jun 93 11:33:06 CDT Well, I'm still here this summer and like to hear some comments about 14 Songs. Personally I think it's a great album with a few klunkers (Someone I Once Knew has got to be one of the worst songs he's done). On the other hand the genius shines through on Knockin' On Mine, First Glimmer, Runaway Wind, World Class Fad, Black-eyed Susan, Even Here We Are, Things, Down Love, Something Is Me. Anybody know of any single b-sides etc.? Asif ---------------------------------------------------------------------- From: hanson@bcstec.ca.boeing.com Date: Wed, 23 Jun 93 15:38:33 PDT I'm not so sure about Paul's new CD! For all the rave reviews I read, I am not very enthusiastic about it! The songs are "ordinary" and where are all the cool lyrics he used to write. Sure, every song has a couple signature Paul W. lyric turns, but it seems like all he does in most of the songs is repeat the chorus over and over and over again... But the songs *are* kinda catchy, yet I was expecting A LOT more!! Anyway, I still bought tickets to see him in Seattle, July 17 and I can't wait!!! - Lisa hanson@bcstec.ca.boeing.com ---------------------------------------------------------------------- From: David Nicholson (io20762@maine.maine.edu) Date: Fri, 25 Jun 93 12:46:55 EDT Dear Matt et al, You're still alive! I was worried that either you had met with some horrible accident or decided to listen to Whitney Houston or something instead. I got your letter and I indeed haven't got anything lately. Unfortunately, I am going to be in school all summer, so please continue to fill my mailbox with news of the 'Mats. It's been a hectic semester, so I've really only had time to read the Skyway, never actually write in. So here goes. I don't know what the consensus is on 14 Songs, but I really like the thing. Plus, I think it has magical powers - I was speeding (the operative word) along yelling out the lyrics to "Something Is Me" the other day when I got pulled over by this local hick Mainer cop. He had himself a genuine city-slicker (Albany, NY) dead-to-rights, doing 45 in a 25 and he let me off! That never happens to me. I think Paul was looking out for me or something. Anyway, I guess the secret to appreciating the 'Mats solo stuff has been, at least for me, accepting that nobody's gonna release another Tim or Pleased To Meet Me (my personal faves), so we've kinda got to judge everything on its own merits. Overall, I've been pleasantly surprised. I mean, who really expected Chris Mars to release one good solo album, never mind two? And Bash and Pop's got me digging back into my old Stones records again, remembering the excitement of discovering Rock'n'Roll in the first place. I haven't heard Slim's album yet, but I bet it's better than I'd expect And, if not, hey - he wasn't a full-fledged Replacement anyway, right. One more order of business before I have to sign off. I've got a bootleg album called Live and Drunk from a CBGBs show in 84. It's kind of a 'Shit Hits The Fans' kind of thing - a lot of goofy covers, they hardly get through an entire song, and they're drunk as all Hell. If anybody's interested in reliving the "good ol' days", I'd be willing to swap copy for copy for tapes of shows where they actually played and stuff. Drop me a line. Later, David Nicholson io20762@maine.maine.edu ---------------------------------------------------------------------- from: Matthew Tomich (guampo@parrot.creighton.edu) If you haven't already seen it in the record store, there's a limited edition of "14 Songs" that has a few extra pictures in it and an interview with Westerberg. The average price I've found is double whatever the store is charging for the regular CD. There's only eleven pictures, and two of them are just an out-of-focus shot of a stop sign and the head of his guitar amp (an old Vox). The "book"'s cover is a thick, unglossed cardboard and there's over ten blank pages in the thing...and for the $30, I really think we're getting ripped. But hey, those marketing geniuses got their money. (I think I read a letter from someone that said that they were also releasing promos to radio stations in this format.) Anyways, the only other reason to by it (unless you're into pin-ups and Westerberg is your favorite), is the interview. So here it is transcribed. (The single brackets are printed, the double brackets are mine.) PAUL WESTERBERG -- As interviewed by Bill Bentley Q: When did you start writing songs for this album? A: They're split into two groups. Half of them were written about two years ago, right after the Replacements finished their last tour and I moved into a new place. I didn't have anything but a piano, a chair and a rug. "Runaway Wind," was the first one I wrote, along with "Silver Naked Ladies" and "First Glimmer." Some were written in the studio as we were recording. "World Class Fad" was bashed out in literally ten minutes and recorded in one take. It was the same with "Something is Me" and "Down Love." Q: Have you ever written like that before? A: Never had and always wanted to. I think it was the fact that I was the only one there a lot of the time. Matt [Wallace] and I would work on something, and when a song wasn't working he'd do an edit or a rough mix and I'd sit alone with my guitar and come up with stuff. There was no pressure of other musicians sitting around waiting to work. And when I came up with something we'd call in the drummer or get a bass player, or I'd play bass because there wasn't a guy around. It took a long time to get those little magic moments. Q: Did it feel different doing songs that you knew were going to be on your album as opposed to the Replacements? A: It was kind of the same. There wasn't any real feeling of doing something different on my own. I pretty much sat down as always and wrote the songs on either acoustic guitar or piano and fleshed them out on electric guitar. Where my head was at was that I was feeling less like I had to make a statement or be this supposed great song- writer. I felt very free to just write whatever I felt like that day. Q: How does songwriting come to you? Is it inspiration or just work? A: Both. Nine times out of ten, though, the sit-down-and-write ones don't ever make it. There was a song called "Two Raindrops" that was beautiful and everything, but when it came down to recording it, it just didn't feel right. Generally the songs that come fast are the best. They're usually a little silly. The one that did take a while was "Runaway Wind." I was writing that like you would write a poem or something. Q: What's the feeling you have when you've got a good one? A: It's a great feeling. And it's almost sad, too, because it flashes through your mind that the greatest moments of your life will almost always be spent alone. Playing live with the guys is great, but it's not like writing by yourself when there's no one around. For that hour or two you feel like you've got a purpose and a place in life. You think you're hot shit and pat yourself on the back, and then that fades. Q: Do you get the feeling of a place or person when you write? A: I have little things that I go back to that mean nothing to anyone but me that relax me. I'll picture myself back when I was four or five years old at my neighbor's house, looking at baseball cards on an autumn day with the wind blowing. A lot of my songs seem to be cropping up with a fall-type vibe. I've never had any summer songs. You get a lot of cold weather, probably because of where I live. I've been playing "Here Comes A Regular" recently. It's time for me to gear up to go out and perform, so I've been pulling out the old records. That song and some others were hard for me to play for years after I wrote them, for some reason. I don't even remember the specific inspiration behind it -- if it was too close or too personal, but now that I've got a little distance I can play it and sing it as a good song, almost as if someone else wrote it. Q: Do you ever write a song that scares you? A: Oh yeah. All the time. I guess "Things" would be one song on this record that falls into that category. I wrote it almost two years ago and then put it away and then pulled it out during the sessions. Every- one is saying that it's obviously about my ex-wife, but it isn't, which gives it even a more mysterious, macabre twist. I don't really know what it's about. Lines of it may pertain to her, but others may have crept in while the television was on in the background. I'm not trying to evade the issue. I don't think I've ever written a song simply about one person. People get offended. They hear a line that's definitely them and then they hear two more and say, "How dare you call me that." Q: Is it hard to detach yourself and just listen to music for pleasure? A: No. Over the last four years the music I chose to listen to is music I can't write. It's jazz or classical or a lot of blues. I love rock and roll but I'm not too terribly interested in music I can do. I can play my own rock and roll. I don't really need to listen to it. I listen to music to release me from what I can do. I remember reading interviews with Charlie Parker in the fifties and they'd ask him what he was listening to and he'd say Barto'k and Debussy. It's the same kind of thing. You get inspiration from other forms of music. Q: Do you feel a sense of loss about what you're leaving behind? A: No. I haven't turned my back on rock and roll. I just don't necessarily scrutinize everything. I'll put on "Brown Sugar" like someone would open a beer when they want a lift. Q: What about the actual recording of your album? How did you come across Brian as a drummer? A: His name came up from Matt and Tommy [Stinson, former Replacement]. They said he could play and that he was a cool guy and they were right on both counts. I took to him immediately, person- alitywise. Before he played a beat I figured, if this guy was a little bit above crap, he's in. There were other drummers, Mike Urbano and Josh Kelly. These were people Matt knew. I suggested Rick Price, the guy who played bass for the Georgia Satellites. He and Josh came up to New York and that's where we started. I ended up playing a week with those guys, but we weren't getting the right spirit and we had to shake things up and make a change in the rhythm section. John Hart played on the "Dyslexic Heart" thing and he was recommended by Scott Litt. He was going to tour with me, but he crapped out so his nice guy status gets knocked down a notch. I'm currently looking for a bass player. I've got a few guitar players who sound cool, but bass is still a stickler. Q: You're credited with sax on this album. Is this a new thing? A: No, this is something that I picked up while I was listening to jazz. After hearing so many metal guitar solos, I just wanted to learn something else. I bought the sax at a garage sale across the street for a hundred dollars. It's a C-Melody. I blew on that for six months before I bought a cheap tenor. It was great. It really felt like starting over. I could barely play and there was no one to tell me what I could or couldn't do, like back when we did the first Replacements album. Q: Van Morrison is another vocalist who plays the occasional sax. A: The only time I ever saw Van Morrison was when we were doing the record. In fact, the day Ian McLagen [former keyboard player with The Faces] played piano, he had a show in San Francisco and I went and Van came on stage. I met him backstage afterwards and for the first time in my life I was truly mortified. I was toe to toe across from him and he's asking me who I am and he starts pounding the table and telling me he's got to hear th e cassette. I'd heard all the horror stories, but actually he's kind of a nice guy. Not scary at all. Q: How did you hook up with McLagen? A: He's a fan of the Replacements. He came to see us in L.A. and told us he wanted to come down. It never crossed my mind -- I was extremely flattered. That was the single most exciting moment of making the record. He came in, sat down, and in one take blew through it [[probably referring to "Silver Naked Ladies" here]]. We listened to it in the control room at a hundred and thirty decibels, and we were jumping in the air, shouting and screaming. Q: How was the song "Black Eyed Susan" recorded? A: We did it in my kitchen. The reason we didn't redo it was because I couldn't remember how. It was one of those things where I just twisted the strings a little bit different tuning and was immediately inspired to come up with a new fingering and usually a melody follows. For the life of me, afterwards I couldn't remember how I played it. "Here We Are" is the same thing. We spent the entire day in the studio in New York, spending how many thousands of dollars and not getting anything done and I ended up going into the bathroom with an acoustic guitar and started fiddling around and Matt came in with a little cassette deck and we recorded the song in the toilet. We knew we had something and I knew Matt was my man. He'd done whatever it took to capture something different. Q: Joan Jett was also involved singing background. A: I like Joan. We're friends and whenever I go to New York I usually say hello. She wasn't busy so she came down and hung out and sang on a couple of songs. It was fun. Q: You recorded the album in three cities. Was there a difference in the feel of each city or was it just the logistics? A: The record really came to life in San Francisco. Most of the one-take live stuff was done there. We did a little overdubbing in Minneapolis and L.A. We also worked in New York, but I think the problem was that I tried to rehearse Josh and Rick on ten songs in three days and then, when we got them in the studio, God bless them, they couldn't quite get a handle on all ten. It was way too much. I also had cold feet. It wasn't like going in and making a record with guys I've known for twenty years. It was difficult to get the ball rolling until we came in one morning and did one song live. We just rolled the tape. Q: In the Replacements, it was always you guys against the world. Are you confident enough now to go out and do it yourself? A: Yeah. The band-against-the-world thing was how it was when we started. But that spirit probably left halfway through our career. We became, dare I say, average. We gussied it up a little and tried to be more professional, less creepy, and it didn't work to our advantage. I wouldn't be so pompous to say we were ahead of our time, but maybe these days the attitude we cultivated is applauded more and encouraged. We spent a lot of time getting our wrists slapped and making enemies. Q: Are you much a reader? A: I do read. I go in phases where I've got about six books that I'm flipping through. I like biographies a lot and I'm reading this thing about Henry Miller by Erica Jong, which is kind of interesting. I just got done rereading all of the J.D. Salinger stories. I went on a big jag while making the record -- that's actually where we copped the title from: _Nine Stories_. I had more than nine songs, though. [[end]] ---------------------------------------------------------------------- The Westerberg Concert Preview, courtesy of Mary McLaughlin ---------------------------------------------------------------------- From: Mary McLaughlin (M_MCLAUGHLIN@UNHH.UNH.EDU) Date: 25 Jun 1993 13:19:41 -0400 (EDT) Saw Westerberg in Boston last night. Word on the street was that the band billed as thadeus Moonbeam and the Brothers Grief was really Paul and a band made up of former members of the neighborhoods and the Raindogs. The word was true. they played a little club in Cambridge called TT the Bear's - capacity 200 people. The show was AMAZING. They sounded great. I forgot how much I like him. He opened with Waiting for Somebody - played lots of stuff from the new album... Things, Down love, Mannequin shop, Dice behind your shades, Knocking on mine, Runaway wind, World class fad, First glimmer, A few minutes of silence, Someone I once knew - played Dyslexic heart - played a bunch of Mats stuff... Aching to be, Can't hardly wait, Left of the dial, Waitress in the sky, Skyway, I'll be you, Here comes a regular, Another girl another planet, Merry go round - played a rocking cover of Daydream Believer... A truly brilliant show. This was their first time playing to an audience - the tour officially starts July 12, and is supposed to swing back through Boston in August. You can bet I'll be there. If you hear anything about a boot of this show, let me know... Mary ---------------------------------------------------------------------- Bash and Pop concert reviews ---------------------------------------------------------------------- From: kcurry@carson.u.washington.edu Date: Wed, 23 Jun 1993 11:14:32 -0700 (PDT) Matt - Bash and Pop was really great last night. They played two or three different covers (T-REX, Big Star and one other) along with a couple new songs. Tommy threw in a great version of "Satellite" too. The middle of the show included a nice slow down section where Tommy solo'd with the Big Star song "Nighttime" and then shifted ever so nicely into "Nothing" with the rest of the band coming in toward the end. The encore included "First Steps", which Tommy claim "not about me, not about you, not really about anyone." And then wailed into "Fast and Hard." Ric Dube grabbed a copy of the set list and he's going to throw it up on the Skyway soon. The bottom line is that if you have a chance to see Bash and Pop and you don't go, you're a fool. Probably the best show I've seen this year! Kevin -------------------------------------------------------------------------- From: dube@carson.u.washington.edu Date: Wed, 23 Jun 1993 08:27:37 -0700 (PDT) Subject: Bash & Pop in Seattle -- A muse: First of all, I *am* getting Skyway mailings, just so's ol' man Matthew knows. Further, Tommy Stinson's Travelling Music Hall, Burlesque Extravaganza, and Summertime Smile Factory arrived in Seattle last night at downtown's RockCandy. Great show, and if Brainiac hadn't forgot the setlist at home this morning when I came to work, I'd be typing it in right now. I will do it later though, when I go home. In a nutshell, the band did everything from their record, three songs not on the lp as well as the 'mats' "Satellite," and two covers. As far as "the band" is concerned, what the hep is goin' on? Here's the thing of it: apparently, in a fit of artistic control, Tommy fired the lead guitar and bass folks, but kept Steve Foley. The new folks are just great though, and they sounded fantastic. There was a little piece on it in the paper out here. I'll try to get a hold of it and type it in. They were tight except for when they were really loose, if that means anything at all, and I suppose if you've seen good rock and roll before you know what I mean. I don't think anyone was worried about Stinson being able to fill the role of the frontman, he's such a freaking ham! He spoke to the crowd enough to be friendly but didn't fuck around at all -- it was just as well since I couldn't really understand a word he said anyway. The show seemed separated into three fairly distinct parts: a chunk of real rousing rockers, followed by two or three easier going songs, wrapped up with a few fast 'n hard ones. Again, I'll post the set list later on today. The Cheap Ones opened the show, and were fine. Very listenable. If anyone has live tapes of Bash & Pop, I'd like to trade for them. ____________________ Ric Dube dube@u.washington.edu ---------------------------------------------------------------------- From: Matthew Tomich (skyway@phoenix.creighton.edu) Date: 30 Jun 1993 20:12:32 CST I'd love to be posting my own concert review of Bash and Pop here, but sadly, they cancelled here in Omaha tonight. The venue (the infamous Ranch Bowl) said that Tommy ("the lead singer") was sick and had to go back to Minnesota. This really perturbs me to no end... the previous concert reviews and the display on Letterman really psyched me up for the show. I was looking forward to this 100 times more than Lollapalooza III (which was fun, but it wasn't no Tommy Stinson.) -- Matt, depressed list moderator =( P.S. The Westerberg concert is here in Omaha on Monday, July 12th. If anybody plans on coming to see the show here from out of town and needs a place to stay, drop me a line... ========================================================================== QUESTION... From: jeclark@ucdavis.edu Date: Wed, 26 May 93 14:48:01 -0700 I know this is a really dumb question, especially for all of those on this list that have been following the replacements for years, but what is it with bob stinson and slim dunlap? i guess i am kind of confused over the exact history of the 'mats. i know that dunlap's name appears on the jacket of 'pleased to meet me', but did he actually take over bob's place when bob quit (or was bob kicked out?) anyways, if someone could answer this i would be very grateful. [Okay, who wants to tackle this one? - ed.] --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- DEBATE: ** Who do you like better: Bob Stinson or Slim Dunlap? Go ahead and fire away... --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- Thanks for Mary M. (through Ric Dube) for helping me get through some rough parts on the following transcription. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- ANSWERING MACHINE Try and breathe some life into a letter Losing hope, never be together My courage is at its peak, you know what I mean How do you say you're okay to an answering machine? How do you say goodnight to an answering machine? Big town got its losers, small town got its vices A handful of friends -- one needs a match, one needs some ice Call away on the phone to another time zone How do you say I miss you to an answering machine? How do you say goodnight to an answering machine? Try to free a slave of ignorance Try to teach a whore about romance How do you say I miss you to an answering machine? How do you say goodnight to an answering machine? How do you say I'm lonely to an answering machine? The message is very plain: I hate your answering machine. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- I got a few personal letters from Skyway subscribers asking about me and who I was and what do I do besides running the Skyway and all that stuff. Well, the following is culled from a kinda self-indulgent reply that I wrote to one subscriber that should answer anybody's and everybody's questions. This is the end of this mailing, so if you didn't ask or don't care, you can stop reading now. - ed. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- >...you know, people would be more likely to talk about themselves if we >knew anything about you. Class (academic not economic), major, social >security number, purpose in life, astrological sign. All these things >are important. Okay, I'll give you the summary. I was born Matthew Steve Tomich on November 28th, 1972 (Sagittarius and I act like it too). I keep telling people that my middle name is "Steven" and it's that way on so many employment and credit records that I'm afraid that some day I'm going to get audited or something and they're going to think that I'm trying to pull it off like I'm two different people and they'll grill me about it. My parents are both from the Midwest. I've lived in the same house in Omaha all my life. I have two brothers, one older, one younger. My parents got divorced when I was in 7th grade. My Mom moved to California and currently is employed by JPL, where she has a 45 minute commute everyday. I can't relate. I graduated in 1991 from high school. I decided to go to Northeast Missouri State in Kirksville, Missouri based on its academic reputation and scholarship stuff. The school is located in Kirksville Missouri (pop: 18,000). This ironically ended up being the town that my ancestors from my Dad's side (coal miners from Croatia) came to in the early 1800's after landing in America in New York. The town used to have a heavy coal mining economy until the early 1900's. This is all a big dose of Metampsychosis (sp?) if you're a James Joyce fan. It was an adjustment moving to a smaller town after living alongside the 750,000 souls in Omaha. But I think I'm just starting to get the hang of it. I'm terribly undecided about my major and I'm going onto my Junior year. I have been taking a lot of science classes and get a kick out of it but I'm not sure that I want to do it for the rest of my life, or even next year...and my scholarship having a limit of four years puts a clamp on things. After doing some soul searching, I decided to major in History and minor in Biology. I play the bass guitar. I started in my freshman year of high school when I had chronic bronchitus for six months and lost my voice over that time. I borrowed a friend's bass when I had a lot of time that was previously spent socializing on my hands. I currently play in a (sorta joke) band. You can see what I mean by joke by the names of some of our songs: "Get A Job", "Tear Down the Ranch Bowl" (that's a local club in town), "Stick It to The Man", "Sub Pop Boy", etc. I play bass alot like Tommy Stinson and that was one of my first attractions to the Replacements. I don't know where the style (or lack of it) comes from, probably from trying to play the bass like a guitar. I tried out for "Up With People" when they came to our campus this year. I told the representative that I had written a song about individuality. It was pretty funny to watch the white 'bread' representative watch as a I played a song I had written called "Fuck You, I'm Me" on a friend's acoustic guitar. I still haven't heard back from them to this day, but I'm not real broken up about it. In 11th grade I borrowed a friend's copy of "Don't Tell A Soul" to listen to "I'll Be You" (a favorite of mine since I had seen it on MTV). I immediately caught onto "Talent Show", "Anywhere's Better Than Here", "We'll Inherit the Earth", and "Rock and Roll Ghost" as well. Then during the Spring Break of my senior year, a friend brought back a copy of "Let It Be" from college and played "Tommy Gets His Tonsils Out" for me. I loved it. I borrowed the CD from him and he forgot to pick it up before he went back to University of Iowa. Three months later I got a flier for the Replacements concert while attending a Jane's Addiction show. A week before the show, I discovered the last track on Let It Be, "Answering Machine", and haven't been the same since. I wish I would've held onto that flier. Some of my other favorite bands are Superchunk, The Kinks, Too Much Joy, The Urge, Husker Du, Soul Asylum, Sugar, the Pogues, Fishbone, Poi Dog Pondering, Pegboy, Jane's Addiction, Uncle Tupelo, Head Candy, et al. I went to Lollapalooza III in Des Moines, Iowa a couple days ago. I lost my shoes. I currently work as a waiter for the summer at an Italian restaurant. I lied on my application about previous restaurant experience but I gave them the phone number to my dorm room if they're ever looking to confirm my references. I typically don't lie on job applications, but I really didn't want to do telemarketing again this summer. I'm 5'6" and 130 pounds. Brown hair, brown eyes. I was 4 pounds when I was born a month premature. I read "Catcher in the Rye" when I was in 10th grade. Thought it was great but sad. Seemed like some of Holden's problems were self- inflicted. But there were many that were of mere circumstance. I think it'd make a great movie with that guy from Pump Up The Volume and Heathers as a perfect typecast. What's his name. You know. I'm the typical Replacements fan I guess. Middle class. College. Drives an average car ('84 Toyota Celica Supra. Has 94,000 miles so don't bother stealing it.) The only thing that might ever make me a unique Replacements fan is that I'm straight edge: I've never drank alcohol, except the time when some friends of the family got me trashed when I was four. Regardless, I was kicked out of my senior year prom for being drunk. That should tell you something right there. fin.