---===---===---===---===---===---===---===---===---===---===---===---===---===-- 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 \\ -- Summer Issue #5 (c) 1993 Bastards of Young (BOY/BetaOmegaYamma) Productions --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- ** Subscriptions, comments, contributions: ** --> skyway@phoenix.creighton.edu <-- ** Manager: ** skyway@phoenix.creighton.edu (Matthew Tomich) --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- 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. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- Tablez o' contente' Sunday, August 8th, 1993 ------------------------ * Yeah, yeah, yeah...whatever. (from Matthew "enough bandwidth for that .sig, jerk?" Tomich) * Bueno from our newest subscriber, Mark Timmins * How Sallie Swank got sick of drum machines and fell in love with the 'Mats * Update from Shannon Drury on the (sold out) Minneapolis Westerberg show * "Lovelines"... * Westerberg Austin setlist (copy of show available!) * Austin-American Stateman's review of Austin Westerberg and Bash and Pop shows * Joel Sherer's review of that too-good-to-be-true Austin Westerberg show * Teddie James's account of Bash and Pop in Austin * Slim Dunlap's THE NEW OLD ME, as reviewed by Heather Chakiris * Lyric corrections from Heather Chakiris and James Greer * Updated _Pleased to Meet Me_ lyrics from Scott Sochs! //\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\ Note' de administrativia ------------------------ If you haven't figured it out yet, I don't know jack shit about French. After reading all these Westerberg reviews, I'm ready to get in my car (with it's brand new rebuilt transmission) and go to St. Louis to see him again. But alas, I'm employed and have a million other things that must be done before school starts. Hopefully he'll swing around to Columbia Missouri after he hits Europa. Anybody out there remember Mike Monello? Well, I gave him a call the other day and he's alive and well. He lost his internet access when he graduated but he's in the process of getting in contact through a friend's account. Thanks for everybody who has sent shirts in so far! Go ahead and send them up to the end of this week. The ones I've worn so far have been coming out nicely...should give you an accurate representation of the world of physical labor for employment (just in case you haven't been there already, for all you who supported/are supporting yourself through college with internships and McJobs.) But it's been really great seeing actual letters (and clothing) from the people behind the names and internet addresses out there. WOW. Geez, does half this list live in Texas or what? I should drive down to Austin for Spring Break and show up to a concert just to see if I can get a glimpse of Bobby Mould! I spent a good chunk of this last week recording with the band I'm in on a four track. I can't understand why the 'Mats demo tapes that I have copies of sound so BAD. What'd they do, record them on a ghetto blaster? By the way, if any of you happen to be in the area, (HAHAHAHA), my band's last show for the summer and quite possibily forever will be on Sunday, August 15th in Omaha. It's also our tape release party, if you can imagine that. We're all going to college and we'll be in different states (Nebraska, Iowa, Missouri, Kansas) over the next nine months, with no definately plans for next summer. It's been a fun summer, especially playing shows in the small, small towns to crowds of half-"nothin' else to do in this town but mosh"-teenagers and half- "nothin' else to do in this town but get drunk"-adults. Thanks to the Bullfrogs and Missouri Valley, Iowa, among many others. (If this tape does well, then maybe the drive for 'reunion' shows would be too tempting.) When we get the tape reproduced this week, I'll send it to people here on the Skyway at cost + mail if you're interested in hearing a fellow 'Mats fanatic's band. We only really have one song that sounds Replacements-influenced/ripped-off: we all switched instruments and wrote a song about Perkins. But hey, I think it'll come out to be like only a buck plus postage. (If you bought it at a store here in Omaha or in Kansas or Missouri, it's gonna cost somewhere between $3-5. See, we're not big capitalists.) A friend of mine is running a King Missile list and he advertised the 'Mats list in his latest issue. So I think I'll return the favor. You can reach him at "mrosco@pigeon.creighton.edu". (I saw King Missile open up for the 'Mats when I saw them in '91. Westerberg fired them that night for some reason. They were hilarious that night, nonetheless.) Not much happened this week...no concerts, no crazy weekend, no carjackings. (And to all the people who wrote in to me about the article in Time magazine that featured Omaha and it's gun and gang problem, yes it is that bad.. in SOME areas. And I was really surprised this summer to find the number of 'friends of friends' who have guns in their car or at home or whatever. I used to kinda drive like a maniac: cut people off, honk my horn, yell at people through my sunroof with my bullhorn, etc...but I don't anymore because I don't want a bullet through my windshield. (That already happened once, but it was rural Missouri at 3 a.m...go figure.) I can't wait to go back to school; I feel like it's a tour of duty or something. "Got three weeks left, man! Don't wanna catch a bullet now!" But thanks to all who wrote in and inquired.) Have a great week. And it's pretty much unanimous: if Paul comes within 3 hours of where you are, GO. You won't be disapointed. P.S. Once again, I'm screwing with the article dividers. Feel free to send new ones into me...make them as obnoxious or complex as you want... - TOMICHM \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: Fri, 06 Aug 1993 18:09:36 -0400 From: timmins@polysci.umass.edu Hi: This is my first ever posting to this newsletter, so I don't know if this issue has been flogged to death, but I was wondering if it had been decided whether the allusions to Paul Westerberg in the movie _Heathers_ (was Christian Slater in that one?) were intentional. The two obvious pieces of evidence come together in one scene at the end -- Christian Slater is standing on the steps to Westerburg High School (note the different spelling) and proclaims "Color me impressed." Do you (all) think there is anything to this, or are mmy friend and I grasping at nothing.... Sorry, it was a while ago that my friend and I debated this, and I'm a bit fuzzy on the details, including even if it was "Heathers." A little about me. I am 28, a graduate student at UMass in Amherst, and I first heard the Replacements when I bought _Tim_ used in Boston because a local reviewer had put it on his Top 10 list for the year -- that would've been, what, 1986? I liked it a lot, particularly "Here Comes a Regular" and "Swinging Party" but I never really connected with it until my friend (yup, same one as in the previous paragraph) said that he thought "Bastards of Young" was about the best song he had ever heard. So then I gave it a closer listen, and I was hooked. (Historical note -- my taste for 'alternative' music began in 1982 when I first heard new wave on a local noncommercial station, but it took until about 1986 for me to ween myself completely of technopop. Maybe the Replacements had something to do with that, who knows). Soon after that I bought _Let it Be_ and instantly saw the genius which is "Unsatisfied," "Androgynous" and "Answering Machine." The earlier albums I find spotty, so haven't bothered getting them on CD, although I really like the songs "Within Your Reach" and "Color Me Impressed." This same friend had the LP _Boink_ which has those two songs on it which are not on any of the other records, and I liked them, too. IMO, their best album is still _Tim_, and the runners up are _Pleased to Meet Me_ and _Let it Be_. Their later albums I enjoy, but they lack that visceral intensity of the middle period stuff. But that's not news, I guess. Am I the only one who thinks Chris Mars sounds like Ray Davies? His songs even sound like Kinks' songs -- listen to "Public Opinion" and imagine it is 1982 and the Kinks are singing it. It works. I find Chris' albums to be worth owning, but not worth getting worked up about. His latter album is less good than the first. His lyrics tend toward the sarcastic, and not the poetic. I really like the feel of the Bash & Pop album. I think Tommy was *trying* for that loose / sloppy feel of the _Hootenanny_ / _Let it Be_ era. The lyrics are decent, but no Westerberg, although he comes much closer than either Chris Mars or Slim Dunlap (see below). It took me several listens, but now I really like _14 Songs_. I agree with most that "Someone I Once Knew" should have been left off the album, although except for the lyrics I like that song. Same with "Down Love." It rocks but says nothing. I have now heard the Slim Dunlap album two times through. It has a very heavy 1970's feel to it. I'm not sufficiently knowledgeable about the music from that period to comapre it to The Faces (as someone did for Bash & Pop) or whatever, but when I hear some of the songs I think of the one song I know by Georgia Satellites. It has that redneck feel to it. "The Ballad of the Opening Band" is the closest he comes to poetry, but I think he forces some of the lines and blows it. Still, it's a good song. And he and Chris Mars both feel compelled to throw jazzy little instrumentals at the end (both of which I like, BTW). What gives? -Mark @UMass "It's educational" P.S. I know my .sig should be something Placemat-ish, but I haven't come up with just the right unique snippet. Ones I might con- sider (ie, some favorite lyrics): "dressing sharp and feeling dull" "trading in my telescope for a keyhole" "income tax deduction / what a hell of a function" (my mom works for the IRS, but I'm no longer dependent, nor am I alienated...) "I'll be no medal pinned to his chest" "If you were a pill / I'd take a handful at my will / and knock you back with something / sweet and strong" "I don't know" [Yeah! You're right...that's exactly what I thought! Chris Mars sounds just like Ray Davies circa "Give The People What They Want" minus that tinge of Brit accent. And if "Around the Dial" came out today, people would probably say that it was a 'Mats rip-off. -M@] \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: Fri, 6 Aug 1993 16:59:37 -0500 (CDT) From: S_SWANK@twu.edu Subject: sort of an introduction Well, Matt, I've finally got a little time so I'll tell ya a little about myself...I'm writing to you from scenic Denton, Texas where I live and work and just finished school. I work in the media center of the library at Tx. Woman's U. - one of the 2 colleges in Denton. I like my job, its interesting, the people are cool, & I can spend some of my work time looking really busy while I'm actually playing around on the Internet... Can't really live on what I make, though.. so now I've got the BIG DEGREE I guess I'll get a real job...(sigh) I sense that I'm a bit older than most people on this list...I'm 35..but what the fuck -- good music and a misspent youth have combined to keep me relatively immature for my age, thank god. I always liked music that was off the beaten path -- I liked the Velvet Underground & all Lou Reed & John Cale stuff in the 70's..& all the music that got labelled "punk rock" (all the student workers here are real impressed when I tell them that I went to see the Sex Pistols when they came to Dallas & I actually TALKED to Sid Vicious (as much as 2 people who're smashed outta their minds can really talk to one another). But I also liked some stuff that was uncool to like if you were into punk...I liked some sappy popsongs, & I love all the Motown artists & people like Al Green & I was into Roxy Music & Eno & so on...I never had much patience with all these labels for different kinds of music & if you were into this it was uncool to listen to that etc... I just like what I like..whatever moves me.. just all kinds of different stuff... My introduction to the Replacements came in the mid 80's when I was working in a bookstore and whining to a friend & fellow worker about how depressed I was over all the bands with drum machines & skinny singers dressed in black whining about how depressed they were all the time..so he made me a tape w/ _Tim_ on one side & Husker Du _Flip Your Wig_ on the other... I listened to Husker Du more at first... but one night driving home from East Texas w/ no headlights I really started to get it...especially the last 3 songs on the album. I went backwards from there... _Unsatisfied_ really blew my mind in a million pieces on the floor -- this guy KNOWS !! -- & I've been a rabid Matsfan ever since. Seen em 3 times since (once with Bob twice with Slim) (I have no opinion on this whole which-was- better-Bob-or-Slim issue -- they each were good at what they did) & I must say -- I like the live shows much better than the albums & I LOVE the albums...(same for solo albums). I think its interesting that Paul told the guys in Austin that he'd been bummed out at the Dallas show because "it wasn't there." I could see that he was frustrated there at the end -- but up till then it'd seemed pretty "there" to me. I guess he's still just so unsatisfied. Makes me really curious to hear that Austin show. No, Matt, that blues song wasn't _If only You Were Lonely_ I *wish*!! I think it was some traditional blues thing, maybe... Anyway...enough about me. Time to go home. See y'all on the bus.. Sallie \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: Mon, 02 Aug 1993 10:16:42 -0500 (CDT) From: DRURYS@carleton.edu Subject: Re: Paul comes home Hello hello Matt! I've been meaning to tell you this for a while, but haven't. my last name isn't Drurys, it's just Drury, like the muffin man who lives on Drury Lane song. Usernames at Carleton are last name and first initial, so you would be TOMICHM. just to let you know. That taken care of, let everyone know that Paul's show in Mpls. is indeed an ID show, and it's sold out already. I bought only one ticket as all my friends are wee-little twenty year olds it seems, and I have yet to call the guy in the personals to see if he has a ticket and wants to go! I am crazy, I can't believe I'm gonna do it. At any rate, thanks for the lengthy submissions, which are all really amazing and cool, only problem is that I'm running out of room in my vax account so I have to purge some old mail. I hate doing that. I'm a pack rat, I like to keep everything just in case, including old e-mail. Whatever. I have to go back to work, but I'll write more with the scoop on the Mpls scene later. And what is up with the T-shirt thing?! I don't get it. --Shannon \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// From: schrey@VFL.Paramax.COM Date: Mon, 2 Aug 93 12:10:30 EDT > From: DRURYS@carleton.edu > Subject: Paul comes home > > My latest tale is that I placed a personal ad in City Pages last week (it was > FREE, and my friends dared me to do it) and it read like this: "Girl, 21, > seeks charming, slightly off kilter boy Mats fan. Let's listen to > 'Let it Be' and reread 'Catcher in the Rye' together." So far I > have received about fifteen > calls, and only ONE was a Replacements fan. He was drunk and he and his > roommates sang "If Only You Were Lonely" to me. I think I'm gonna call him. You missed the opportunity to use one of those fine passages from "Love Lines" on _Hootenany_. If you haven't heard it, it's pretty much Paul reading personal ads while the band jams away in the background. It's great and can really only be heard not described. Can anyone transcribe it? You should have at least signed it "Kitten"! ("Ooo yeah, ooo yeah, Kitten!") Tim -- Timothy M. Schreyer schrey@vfl.paramax.com Software Technology R&D (215) 648-2475 Paramax Systems Corporation FAX: (215) 648-2288 PO Box 517, Paoli, PA 19301 \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: 2 Aug 1993 09:25:04 -0700 From: "Teddie James" Austin [Westerberg] setlist OK. Following is the complete setlist for the 7/28 Austin show. Waiting For Somebody Mannequin Shop Achin' To Be First Glimmer Waitress In the Sky Dice Behind Your Shades A Few Minutes of Silence World Class Fad Merry Go Round Seein' Her Someone I Once Knew I Will Dare ??? Has lyrics, "I go the whole wide world." Any clues? Great song! I WIll Dare (part 2) Knockin' On Mine ??? Death of a Clown??? Any clues to the name? (Other guitarist on vocals.) Sadly Beautiful (acoustic) Skyway (acoustic) Things Dyslexic Heart Daydream Believer (Monkees) Can't Hardly Wait I'll Be You Customer 1st Encore Here Comes A Regular (acoustic) Runaway Wind Down Love Left of the Dial Alex Chilton 2nd Encore If Only You Were Lonely Another Girl Another Planet (w/ Bob Mould on guitar for last half of the song) Ace of Spades (Motorhead song, w/ Bob Mould on guitar) I Won't Be Your Dog (Iggy Pop & the Stooges, w/ Bob Mould on guitar and screaming) By the way, for anybody that gets a copy of my tape, the guy singing the words the Here Comes a Regular that is WAY off key is NOT me. I can sing better than that. LIstening to that guy on the tape almost makes the song laughable. Ted teddie_james@csicqm.sps.mot.com [You can write Ted to get a tape copy of this show. I think the song "Death of a Clown" refers to 1967 Kinks song, written by Dave Davies. One of my all time favorites. Send me your address Ted so I can send you a check for that tape...! - M@, ed.] \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: 6 Aug 1993 10:43:40 -0700 From: "Teddie James" Subject: Westerberg/Bash & Pop review Mail*Link(r) SMTP Westerberg/Bash & Pop review I got this from my friend at the Austin American-Statesman. Enjoy, Ted DATE 7/27/93 DAY TUESDAY NEWSPAPER AUSTIN AMERICAN-STATESMAN SECTION AMUSEMENTS EDITION FINAL HEADLINE Doe says X is `more focused' after its hiatus COLUMN Don McLeese BYLINE Don McLeese PAGE D5 STORY LENGTH 39 INCHES CUTLINE New guitarist Tony Gilkyson, second from left, will be the only unfamiliar face when X performs at Liberty Lunch tonight with longtime band members Exene Cervenka, left, D.J. Bonebrake and John Doe, far right. // Gifted tunesmith Paul Westerberg's 14 Songs sounds like a fair-to-middling Replacements' album. // Fellow musicians contributed to Sweet Relief to help pay Victoria Williams' medical bills. Recent and relevant: Paul Westerberg. 14 Songs (Sire/Reprise) *** 1/2 With the approach of Wednesday's Libery Lunch date on his first solo tour, the word was passed that Mr. Westerberg wouldn't be available for any more interviews, prefering to save his road-ravaged voice for the performance. Whatever the truth in that excuse, it's likely that he's equally weary of having to answer so many questions about the Replacements. When the band was together, all anybody wanted to talk about was Paul, but now that Paul's on his own, everybody wants to hear him dish some dirt about the band. Part of the problem is Westerberg's own making, for 14 Songs sounds so much like a fair-to-middling Replacements' album (where 1990's All Shook Down carried the band's name, but sounded more like a Westerberg solo project). In typically off-hand fashion, Westerberg has delivered a randomly programmed selection of rockers and ballads, some glorious (First Glimmer, Something Is Me), some throwaway (Even Here We Are, Silver Naked Ladies), many reminiscent of earlier, better material with the band he'd just as soon forget. When the Beach Boys' Brian Wilson failed to deliver the expected Smile masterpiece as the follow-up to Pet Sounds, brother Carl remarked that the band had bunted when it should have hit a home run. This is more like a checked-swing single to the opposite field. Though Westerberg realized a long time ago that he had outgrown the Replacements, he hasn't quite figured out what to grow into. Until he's ready to raise the creative ante and push beyond the shambling ambivalence that has defined his aspirations, one of the most gifted tunesmiths in popular music might as well be taking batting practice. (Former bandmate Tommy Stinson fronts Bash & Pop at Liberty Lunch on Saturday.) ----------------------------- DATE 7/30/93 DAY FRIDAY NEWSPAPER AUSTIN AMERICAN-STATESMAN SECTION WEEKEND EDITION FINAL HEADLINE Solo Westerberg triumphant BYLINE Don McLeese PAGE 3 STORY LENGTH 18 INCHES KEYWORD-HIT. Paul Westerberg's concert Wednesday at Liberty Lunch was his first in Austin as a solo artist, but the music made plain that the former Replacement remains everything he ever was. Where some artists who start a new career chapter try to distance themselves from their previous work, Westerberg dug deeply and widely into the the Replacements' songbook (as is his right; he wrote it). The result was a raucous two hours of some of the hookiest, heartiest rock of the last decade. For the first half of the show, it appeared that Westerberg and his new band - guitarist David Minnehan (ex-Neighborhoods), bassist Darren Hill (ex-Raindogs) and drummer Josh Freese (of X-tra Large) - were keeping the music on a shorter leash than the 'Mats frequently did, exchanging liberation for control. With the bouncy anthemry of I Will Dare, however, everything went up for grabs. The song segued into a cover of Wreckless Eric's gloriously goofy Whole Wide World, before returning to I Will Dare at double-time tempo. Westerberg then launched into Knockin' on Mine - the kickoff tune on his recent 14 Songs album - but blew the first verse and stopped it dead. Guitarist Minnehan took the mike for an impromptu cover of the Kinks' Death of a Clown, which was also cut short as it turned painfully offkey. So much for the slick solo career. Westerberg then waved the rest of the band offstage for the most achingly bittersweet acoustic version of Sadly Beautiful you'd ever hope to hear. While the spirit of Westerberg's performance remained much the same as with his former band, the split with the Replacements has allowed him to shed some attitudinal baggage. When so much of a band's image rests with its shambling amateurism and penchant for self-destruction, the question becomes how far can it push to the edge of chaos before falling over, and how far back can it pull without seeming tame or predictable? Whatever their garage-band origins and inclinations, bands either get tighter or they fall apart, and while it appeared that the 'Mats were more afraid of the former possibility than the latter, Westerberg's writing was developing more subtlety, nuance and maturity. Even with the wall of squall erected by his new band, the focus throughout Wednesday's performance was on songcraft rather than attitude, as Westerberg showed how well old and new fit together. Achin' To Be and the new First Glimmer made a perfect match, while a medley of Can't Hardly Wait and I'll Be You brought the set to a resounding climax, with an encore of Alex Chilton providing an irresistible capper. Within the hard-riffing melodic majesty of the tune, you could almost believe Westerberg's myth of "children by the millions sing for Alex Chilton when he comes 'round." The you-could-believe-anything evening ended with guitarist Bob Mould (Husker Du, Sugar) joining Westerberg and band for a riotous encore finale of Motorhead's Ace of Spades and the Stooges' I Wanna Be Your Dog. -------------------------- DATE 8/3/93 DAY TUESDAY NEWSPAPER AUSTIN AMERICAN-STATESMAN SECTION AMUSEMENTS EDITION FINAL For those who found Paul Westerberg's performance at Liberty Lunch on Wednesday overly professional - more like a concert, less like a car crash - Saturday's show at the same venue by Bash & Pop, featuring former bandmates Tommy Stinson and Steve Foley, had one very Replacements-like incident. After drummer Foley had been exasperated by the sound monitors throughout the show, he grabbed his cymbal stand like a baseball bat and took a home-run swing at his toppling drumkit. "So I guess we're done," said Stinson. What made the aftermath very much unlike the Replacements was Stinson's realization that he owed something more to his audience, that 35 minutes wasn't a long enough show, and that - as the frontman for the new band - he had to take the sort of responsibility he might have previously ducked. He returned solo for a poignant First Steps, and then coaxed the band (including an unapologetic Foley) back out for a couple more songs and an encore. As a whole, the performance demonstrated that the charged spirit of Bash & Pop's album debut is no fluke, and that Stinson already shows more command in the sideman-turned-frontman transition than Ronnie Wood ever has (or than Sid Vicious - whose era the band evoked - ever will). Powered by equal parts instinct, adrenalin and alcohol, the set suggested that Stinson - with or without Bash & Pop - has a future beyond Replacments' nostalgia or Stones/Faces knockoffs. \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: Sun, 1 Aug 93 19:11:55 CDT From: Joel Allen Sherer Subject: Westerberg in Austin Just got through reading the reviews of the Westerberg show in Austin. It truly was the best and most enjoyable show I've been to! It seems that everyone who saw it feels about the same. I drove up with two buds from Houston after work Wednesday. We got to Austin around 8:30 and got to Liberty Lunch around 9:40 to catch the last few songs from School Of Fish. I saw them at the Vatican in Houston earlier this year and they were much more into it then. Saw them finish with "Three Strange Days", and "Complicated" (I think). The crowd was enjoying them pretty well. Westerberg came out around 10:30 and I can only say that it was incredible! We were 2 rows back from the front, could see perfectly, and the sound was loud but very good. The other guys covered the details of the show so I can only add my enthusiasm. The show seemed perfectly paced. Near the middle , the lights went down and Paul came out, sat on a stool?, and did "Skyway", with the crowd singing every word. This gave the chills and the goose bumps. For the next part of the show, there was so much energy in the band and the crowd, that I didn't think it could get any more intense. Then during one of the encores when Bob Mould came out, the place went crazy, the small pit got bigger, and I was on another level. After it was over, I had the feeling that it could not have been any better. It ended at the perfect time. We were exhausted and couldn't do anything but smile and cheer at how great the whole thing had been. Hopefully, T.James' tape captures some of this experience. I can't wait to hear it, however that happens... I hope the show does end up coming back to the South after Europe or whenever. This is one of the few shows that is worth seeing again and again. Don't miss it. -Allan Sherer asherer@milp.jsc.nasa.gov \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: 2 Aug 1993 13:16:40 -0700 From: "Teddie James" Subject: Bash & Pop review Bash & Pop review Following is my review of Saturday's Bash & Pop concert in Austin. Saturday afternoon, I met up with fellow Skyway member David Bastow and a friend of his. We headed over to Liberty Lunch at about 5:30, hoping to catch the B & P soundcheck. They didn't do an instore, so that ruled out any chances of getting CDs signed. The three of us went to get some beer, hoping that we could share it with Tommy & Co. after the soundcheck. We ran into Tommy's roadie, and he told us that they weren't doing a soundcheck. He also said that the band was off eating somewhere. Disappointed, we went back to my place, drank the rest of the beer, and played all of the Replacements and Uncle Tupelo songs we knew on guitar. At about 10:00 we headed over to Liberty Lunch, tape recorder in hand (concealed in my back pocket, actually). Javelin Boot, a local pop band, opened up with a great set. Magna Pop came on soon after that. They didn't impress me that much. They seemed like noisy Breeders wannabe's. No offense to any Magna Pop fans. Finally, after midnight, Bash & Pop came on. They started out with pretty much the same set as the other concerts. After the first song, Steve Foley jumped up and ran over to the person running the monitors. He was really pissed because either he couldn't hear himself or his monitor was feeding back. When he sat back down, they started up again. Tommy said that he hoped this wasn't an indication of things to come. After a few more songs, Tommy's monitor started acting up. After several tries, he finally got started with the Partridge Family theme. That was fun. A little later, Steve got so pissed about the monitor situation that he jumped up, grabbed his cymbal stand, and proceded to smash his bass drum. He turned and yelled something at Tommy, and then Tommy said, "Well, I guess that's it." Remember how flat and unemotional Steve was during the Mats last tour? Not any more. After a few minutes, Tommy came out and played a solo number. Then he said, "Things change." I wonder if he was referring to Steve. Everybody came out and finished up the set. It was pretty much a standard show. They played the whole album plus Satellite and the Partridge Family. If it weren't for the monitor problem (which wouldn't have happened if they'd done a soundcheck), it wouldn't have been that exciting. The mix that night was poorly done. Tommy's vocals were too low. The bass was too low. The lead guitar was too high. I could tell that Tommy was a little disappointed in the way the show turned out. Oh, and Bob Mould did show up at this concert, but he just hung around at the back of the crowd, as usual. About the tape: because of some kind of malfunction, I didn't tape any of the show. I was kind of disappointed because I wanted a copy. Well, hopefully somebody else got it and is willing to share. This was the last night of the tour. The roadie said that Tommy was going back to L.A. to write some more songs. I picked up a Bash & Pop t-shirt. I guess I'll have to get a Westerberg shirt made. ******************** Other stuff: I noticed that Slim Dunlap's new CD is out. I thought about buying it, but I wanted to hear a review first. Slim doesn't sing on it, does he? Who else plays on it? Anyone? Anyone? Bueller? Ted James teddie_james@csicqm.sps.mot.com [What do the Bash and Pop T-shirts look like and how much should I bring to get one? -- M@, ed.] \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: Mon, 2 Aug 1993 08:43 EDT From: HLC2@OAS.PSU.EDU (CHAKIRIS.HEATHER) Subject: The Old New Me Hi, Matt! Saw you were looking for info on Slim's album. It came out on the 27th of July. My disc is on back order, but I did have the chance to hear my friend Joe's cassette the other night. I only had time for one complete listen, but my first impression was this: _The Old New Me_ is totally and unapologetically a Keith Richards album. VERY cool. I wish I could give a detailed review, but I can't remember all of the names of the songs. I *do* remember, though, that "From the Git Go" is a BLAST, as are several other cuts. It sounds as if Slim just got some friends together, got tanked, jammed for awhile, and someone got it on tape. Rock 'n roll, baby! Paul plays on it , as does Chan Poling. BUY THIS ALBUM! --Heather --- Date: Wed, 4 Aug 1993 10:48 EDT From: HLC2@OAS.PSU.EDU (CHAKIRIS.HEATHER) Subject: Slim Review Hi, Matthieu ;-) ... My copy of Slim's _The Old New Me_ came in yesterday afternoon, so I thought I'd post a review of it in case anyone is interested. Like I told you the other day, this is a Keith Richards album. At one point, my friend Joe and I looked at each other and asked if Slim just repackaged _Talk Is Cheap_ and put his face on the cover. (Okay, granted, that's a bit extreme, but it's as close to a Keith record as I've heard in a long time by someone other than Keith.) Points of possible interest: Paul plays on the record, as does Chan Poling. Let's go track by track, shall we? (An asterisk denotes my favorite cuts.) 1. Rockin' Here Tonight -- Case in point. This opening cut BLEEDS Keith. 2. Just for the Hell of It -- For lack of a better term, this is like rock 'n roll zydeco. Kind of reminded me (rhythmically) of "Rad Gumbo" by Little Feat, only better (of course). ** 3. Isn't It -- This is like a shuffle ... along the line of the great blues song "Tip On In." 4. Taken On (the Chin) -- Pure Keith. ** 5. From the Git Go -- Rockin' bluesy riffs. Chan Poling's playing is very reminiscent of Ian Stewart (another Stones tie-in). ** 6. Busted Up -- Great to sing after you've had a few! Sounds like Paul on backing vocals. ** 7. Ain't Exactly Good -- Another Keith cut, with a hint of Ronnie Wood here and there. 8. The King & Queen -- (IMHO) the weakest track on the disc. Kind of bored me (musically). 9. The Ballad of the Opening Band -- More Keith (from _Sticky Fingers_, or maybe _Exile on Main Street_). Lyrically, it's a cross between "Here Comes a Regular" and "Talent Show." 10. Love Lost -- I felt like I was in the lounge of a Holiday Inn or something ... but in a good way. An instrumental. A vague reminder of "Nightclub Jitters" and "Androgynous." Dare I even say it's romantic? ** WHOA! I skipped a track. Number 4 should actually be "Partners in Crime." Bet you can't guess who this sounds like. ;-) Actually, this cut is the one that sounds the most like a Mats song. It's the chorus that does it (reminds me of a slowed-down "When We Began"). I was a little worried as to whether or not I'd like a solo album by Slim -- after all, my heart belongs to Bob ;-) -- but I'm really pleased with what I've heard. Plus, you just can't beat the photo of Slim in the inside jacket. It's priceless. As to what Paul does on the disc, it doesn't specify. Joe and I have him pegged on some backing vocals and the harmonica. (The harp on "Just for the Hell of It" reminds us a bit of "White 'n Lazy.") Does anyone know for sure? _The Old New Me_ is definitely a keeper. Old-fashioned rock 'n roll. Not over-produced. --Heather \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: Mon, 2 Aug 1993 09:17 EDT From: HLC2@OAS.PSU.EDU (CHAKIRIS.HEATHER) Subject: Re: All Shook Down lyrics Me again ... I skimmed through your transcriptions from _All Shook Down_, looking to fill some holes for myself, and I found a few lines that I thought were different than what you wrote. >>Nobody >>and you wade onto the stage I thought it was, "and you're waving to the stage." >>Bent Out of Shape >>spiked with another heartache (Did I ever tell you this one of my favorite Paul songs?) I always thought this was, "spacklin' another heartache." >>Yeah you kept me straight This one I heard as, "oh, you're gettin' me straight." >>Got me up Isn't this, "Lock me up"? I thought it was, 'cause the person in the song is "bent out of shape" (going crazy). >>When It Began Why did I think this was "When WE Began"? >>the queen sits quietly __________________ It's, "the jester plays." >>My Little Problem >>all the many pieces >>that you're never gonna mend Isn't it, "But I'm a man of pieces that you're never gonna mend"? Perpetually curious (and always awaiting that almighty word ;-), --Heather [I listened to the CD with some headphones and changed some of these entires in the lyric file I have. I could footnote all these changes, but I don't think it'd be fitting for a 'Mats lyric transcription to look like a Milton epic. I still can't believe that the guy who originally did some of these (yo Francois!) was primarily French-speaking. As David Nicholson said, after taking numerous years of French, "Francois don't suck." -- M@, ed.] \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Date: Sat, 31 Jul 1993 21:02:07 -0400 From: James Greer Subject: Re: All Shook Down lyrics I didn't read all of the lyrics, but I here's my guess for the missing one from SOMEONE TAKE THE WHEEL: > the music is pounding > out in that rain > and we're standing in the shadow > forever on the _____ ? > turn it up so I don't have to fade I thought it was: forever on the brink turn it up so I don't have to think This song is my favorite from this album, it really gets the attitude of the "fuck-it-all get 8 guys in the van and go to Mexico" style of travel. \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// From: ssochs@iastate.edu Subject: Pleased To Meet Me lyrics Date: Sun, 08 Aug 93 14:19:43 CDT Well, I finally got done re-editing these with everyone's additions and corrections. They're probably not perfect, but I'm not going to lose any sleep over it. I'll send them to the FTP site at cs.uwp.edu after we get the new list address this fall, so if anyone has any last minute corrections, you've still got a couple of weeks. By the way, is the line "Cerebral rape and pillage..." in "Alex Chilton" a specific reference to something else, like a Big Star song perhaps? I thought it was "So he will...", but I defer to others' better judgement. Thanks to everyone that helped me out with this. I'm working on "Tim" now, and that should be done in a few weeks. Scott Ochs ssochs@iastate.edu ---------------------------------------------------------------- THE REPLACEMENTS -- PLEASED TO MEET ME @SONG: I.O.U. (2:57) Yeah man let's take in fresh air Night and day in the electric chair Step right up son gonna show you something ain't never been done you're all fucked. Listen, it don't cost much I lay down the line that you touch Never do what you're told Any time is easy when you're wrong You're all wrong and I'm right Please be on your honor Please be on your _____ (back in here) Listen to the story all right I'll lose it all right on that dotted line Step right up son gonna show you something ain't never been done You're all wrong and I'm right You see I want it in writing, I owe you nothing want it in writing, I owe you nothing want it in writing @SONG: ALEX CHILTON (3:12) If he was from Venus, would he feed us with a spoon? If he was from Mars, wouldn't that be cool? Standing right on campus, would he stamp us in a file? Hangin' down in Memphis all the while. (chorus:) Children by the million sing for Alex Chilton when he comes 'round They sing "I'm in love. What's that song? I'm in love with that song." Cerebral rape and pillage in a village of his choice. Invisible man who can sing in a visible voice. Feeling like a hundred bucks, exchanging good lucks face to face. Checking his bags by the track just ain't ______ place. (chorus) I never travel far, without a little Big Star Runnin' 'round the house, Mickey Mouse and the Tarot cards. Falling asleep with a flop pop video on. If he was from Venus, would he meet us on the moon? If he died in Memphis, wouldn't that be cool? (chorus) @SONG: I DON'T KNOW (3:19) Do we give it up? (I don't know) Should we give it hell? (I don't know) Are you makin' a fortune? (I don't know) Or don't you wanna tell? (I don't know) Should we give it up? (I don't know) Or hang around some more? (I don't know) Should we buy some beer? (I don't know) Can I use your hairspray? One foot in the door, the other foot in the gutter The sweet smell that you adore, yeah I think I'd rather smother. Should we top it off? (I don't know) It's startin' too slow. (I don't know) Who's behind the board? (I don't know) They tell me he's a dope. (I don't know) What the fuck you sayin'? (I don't know) Our lawyer's on the phone. (I don't know) How much are you in for? (I don't know) What did we do now? One foot in the door, the other one in the gutter The sweet smell that they adore, I think I'd rather smother One foot in the door, the other one in the gutter The sweet smell that they adore, well I think I'd rather smother Are you guys still around? (I don't know) Whatcha gonna do with your lives? (Nothin') One foot in the door, the other one in the gutter The sweet smell that you adore, hey I think I'd rather smother One foot in this door, the other one in the gutter The sweet smell that they adore, oh I think I'd rather smother @SONG: NIGHTCLUB JITTERS (2:44) Nightclub jitters, I take a drink before I hit the town Night life critters scurry to that sultry, smoky sound Hurry now the sun is goin' down To the nightclub jitters, only thing that scares me is the dark The night life critters: "What's the cover? Where should we park?" Stay at home just once for a lark. They say "Now don't be a stranger." It really don't matter to me I'd be willing to wager that it don't matter much if we keep in touch Nightclub jitters, I take a drink before I hit the town Night life critters, they scurry to that sultry smoky sound Oh hurry now the sun is goin' down They say "Now don't be a stranger." Hell, it really don't matter to me I'd be willing to wager that it don't matter much if we keep in touch don't matter much 'cause I got a touch In the nightclub In the nightclub @SONG: THE LEDGE (4:04) All eyes look up to me high above the filthy streets. Heed no bullhorn when it calls. Watch me fly and die. Watch me fall. I'm the boy they can't ignore, for the first time in my life, I'm sure. All the love sent up high to pledge won't reach the ledge. Wind blows cold from the west. I smell coffee, I smell doughnuts on their breaths. A girl that I knew once years ago is tryin' to be reached on the phone. I'm the boy she can't ignore, for the first time in my life, I'm sure. All the love sent up high to pledge... (Repeat) Priest kneels silent, all is still. Policeman reaches from the sill. Watch him, watch him try his best. There'll be no medal pinned to his chest. I'm the boy they couldn't ignore, for the first time in my life, I'm sure. (Repeat) I'm the boy for the last time in my life. All the love that they pledge for the last time will not reach the ledge. @SONG: NEVER MIND (2:47) Absolution is out of the question. It makes no sense to apologize, the words I thought I brought I left behind, so, never mind. All over but the shouting, just a waste of time. Never mind. All over but the shouting, just a waste of time. I'm not ready as I'll ever be. I climb the walls, I fall into the sea. I'm not ready as I'll ever be. And I suppose your guess is more or less as bad as mine. All over but the shouting, just a waste of time. Never mind. All over but the shouting, just a waste of time. And I suppose your guess is more or less as bad as mine. You oughta tell me, you oughta say if you're not sure. You oughta tell me, you got to help me remember. Never mind. All over but the shouting, just a waste of time. Never mind. All over but the shouting, just a waste of time. Never mind. Never mind. Never mind. Never mind. The words I thought I brought I left behind, so, never mind. @SONG: VALENTINE (3:31) Well you wish upon a star that turns into a plane. And I guess that's right on par. Who's left to blame? If you were a pill, I'd take a handful at my will, and I'd knock you back with something sweet and strong. Plenty of times you wake up in February make-up, Like a fool and a lone star you're gone. (chorus:) Tonight makes love to all your kind. Tomorrow's pickin', Valentine. Hey you pop up in this old place, so sick and so refined. Are you strung out on some face? Well I know it ain't mine. If you were a pill, I'd take a handful at my will, and I'd knock you back with something sweet and strong. Trouble keeping your head up when you're hungry and you're fed up, Like a moon and a lone star you're gone. (chorus) If you were a pill, I'd take a handful at my will, and I'd knock you back with something sweet as wine. Yesterday was theirs to say, this is their world and their time. Well if tonight belongs to you, tomorrow's mine. (chorus) (chorus) @SONG: SHOOTING DIRTY POOL (2:20) Rock 'n roll loudmouth,__________________ Stroke another one down, right behind my back. Do us all a favor, get yourself a spine. Everybody's chokin' on the grapevine. (chorus:) Shootin' dirty pool, spewin' dirty lies. Shootin' dirty pool, spewin' dirty lies. I heard it on the airwaves. I seen it in my class. {glass?} Get your money on the table. Get your head out of your ass. You're the coolest guy that I ever have smelt. I ain't a notch on nobody's belt. (chorus) Why don't you get a haircut, sister? That's it. (chorus) @SONG: RED RED WINE (2:59) _______ Chablis, that ain't no stuff for me Chateau Timberley, as long as I can't see Gallo or muscatel, either one would be just swell I didn't come here to fight, hey just as long as that ain't white Now I ain't no connoiseur cat - the conno-sewer rat Red red wine on Sunday Always tastes so good Red red wine Red red wine Red red wine if you would Hey now as long as it is red, oh set 'em up until we're dead Saturday _________________, let's get drunk without _______ Now I ain't no connoiseur cat, I think you guessed that Red red wine on Sunday Just like _____ said Red red wine Red red wine Set us up 'till we're dead I ain't no connoiseur cat, conno-sewer rat ... on Sunday Just like _____ said Red red wine Red red wine Set us up 'till we're dead @SONG: SKYWAY (2:04) You take the skyway, high above the busy little one-way. In my stupid hat and gloves, at night I lie awake, wonderin' if I'll sleep, wonderin' if we'll meet out in the street. But you take the skyway. It don't move at all like a subway. It's got bums when it's cold like any other place, it's warm up inside. Sittin' down and waitin' for a ride, beneath the skyway. Oh, then one day, I saw you walkin' down that little one-way, where, the place I'd catch my ride most everyday. There wasn't a damn thing I could do or say, up in the skyway. Skyway. @SONG: CAN'T HARDLY WAIT (3:02) I'll write you a letter tomorrow. Tonight I can't hold a pen. Someone's got a stamp that I can borrow. I promise not to blow the address again. Lights that flash in the evening, through a crack in the drapes. Jesus rides beside me. He never buys any smokes. Hurry up. Hurry up. Ain't you had enough of this stuff. Ashtray floors, dirty clothes, and filthy jokes. See you're high and lonesome. Try and try and try. Lights that flash in the evening, through a hole in the drapes. I'll be home when I'm sleeping. I can't hardly wait. I can't wait. Hardly wait. [Thanks Scott. - M@, ed. ] \\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\//\\// Until next time, KEEP THE STUFF COMING... - Mateo Tomato finouis.