---===---===---===---===---===---===---===---===---===---===---===---===---===-- 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 \\ School Year 1993-4 -- Issue #11 October 26th, 1993 (c) 1993 Bastards of Young (BOY/BetaOmegaYamma) Productions --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- ** Subscriptions, comments, contributions, anything you want to read: ** --> skyway@phoenix.creighton.edu <-- ** Manager: ** i261%nemomus@academic.nemostate.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. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- !!! Please read ADMINISTRATIVE BULLSHIT for //Skyway\\ address change !!! !!! Please read Matt Tomich's review of the Westerberg concert in Columbia, Missouri in case you were planning to see Westerberg anytime soon... dates may be cancelled... !!! October 26th, 1993 -- Goodbye PARROT (good riddance!) ------------------------------------------------------- ** Iowa City IA + Paul Westerberg from Scott Sochs point of view ** Indianapolis IN Westerberg concert review from Roy Beaumont ** Cincinnati OH with Mr. W and Art Jipson and Ann ** Life and Paul in Columbia, Missouri. From M@. ** PAUL WESTERBERG CONCERT DATE LISTING (Diego Navarete) ** 'Yeah, you gotta get it': the U.K. World Class Fad CD single report from Brent Daniel ** Comments on "Here Comes A Regular" lyrics from Wayne Legro ** That one line in "Left of the Dial" (from M@ again) ** Austin Slim Dunlap concert review from Teddie James ** More "Like A Rolling Pin" questions from Justin Cooper ** Questions about the authenticity of the "Tapers Quarterly" advertisement --===---===---===---===---===---===---===---===---===---===---===---===---===-- ADMINISTRATIVE BULLSHIT [information regarding address change deleted] ---> HEY!!!!!! If you get a single miniscule of enjoyment out of this list, please Please PLEASE write to Mr. Bob Fulkerson and tell him THANK YOU. If it were not for him, this list would be R.I.P. in approximately 120 hours. He's also responsible for writing the new program to remove the headers, setting up the gopher site, getting me this account on the (NEW) computer, and answering all my stupid questions 24 hours a day. Just a line or two... or a paragraph or whatever. This list is endebted to Bob in every way. His address is: rfulk@phoenix.creighton.edu (Fill up his mailbox with thanks.) Does anybody out there have the address to the Musical List of Lists (MLOL)? I have to write to them and correct the address. And if you run across the old address published somewhere, please correct it so that new members can find us and tell us their stories and offer us their copies of concerts and all that good stuff. Thanks for tuning in. See you LotD. -- M@ P.S. Happy Halloween! --===---===---===---===---===---===---===---===---===---===---===---===---===-- From: ssochs@iastate.edu Subject: Iowa City show Date: Mon, 18 Oct 93 19:34:54 CDT Well, I typed up a big, long concert review last night, but my editor was screwed up and wouldn't let me mail the goddam thing, so here's the shortened version: Matt, I looked all over the place for you and your red shorts, but I couldn't find you. If you were out on the terrace trying to give away tickets, I probably walked past you a few dozen times. I was the guy in the baseball jersey with Japanese lettering. (I hope I wasn't the guy in the second row that kept elbowing you in the face.) Like Matt said, the sound was pretty bad, but Paul was great. He almost seemed like he enjoyed himself. I did feel pretty dated, though, when the band played 'Buck Hill'. During 'Merry Go Round' (which is a pretty weak song, in my opinion, at least as far as Westerberg goes), all the kids went nuts, but during 'Buck Hill' they just stood there with these puzzled looks on their faces, staring at the old guy (me) screaming 'BUCK HIIIIIIIII IIIIIIIIIIILLLLLLLLLLLLLLLLLLLLLLLLLL!!!!!!!!!!!!!!!!!!' Anyway, I wasn't disappointed. Wish I could be more informative, but I've got to get back to work. Scott Ochs ssochs@iastate.edu [Hey Scott, I was screamin' Buck Hill too...yer right...everybody seemed like, "What the hell?" Oh well, it was Iowa City, not St. Paul. - M@] --===---===---===---===---===---===---===---===---===---===---===---===---===-- From: bobes@expert.cc.purdue.edu (Roy Beaumont) Subject: Re: Paul - Indy - Oct. 18 Date: Tue, 19 Oct 93 16:38:23 EST Mat [sic] and Paul diehards; I finally got to see the concert of the year last night at the Vogue in Indian- apolis. The place holds about 800 people and is a renovated theater from the past. Anyway, I got there early and my girlfriend and I got to stand in the front row. The opening band (Walt Mink or something) sucked, but it didn't mat- ter, I was just waiting for the MAN. Around 10PM, he finally came out in a red tuxedo vest, huge green bow-tie, and Hawaian weird-ass pants. He started out with 'Waiting for Somebody' and the entire evening rocked. The band was tight and played well together. Although I dont' have a play list, he played: If Only You were lonely, Skyway, Alex Chilton, Waitress, Buy, and a handful of others. The request for "If Only..." came from no other than me, I kept screaming it (and was virtually 3 yards away from him). He finally gave in. Then, my buddy screamed out "I'll Be You", and Paul said, "Fine, no more requests". He was really into it, and during "Here comes a Regular", I could have sworn he was crying. It was an unbelievable moment, 800 people singing "Here comes a Regular" in touch with Paul. When he ripped into "Knockin on Mine", the entire pit was doing the slam dance that lasted a good 5-6 songs. My date was pinned against the stage ban- nister, but enjoyed it never the less. His last song, after just one encore was IOU. His voice was completely shot by then, and I think thats why he cut it short. The concert was 1 1/2 hours and had some funny moments. On "I'll Dare" he stood on top of a swirling bar stool as a joke, and had to bend down to the mike. I thought for sure he'd fall. After, my date and I went out to his bus. There was probably about 50 people, but I was determined to get his autograph. Somehow, Jen (my date) was "allowed:to go to the door of the bus. Paul let a few people in (only women), and Jen was the only one by the door. Security let no one else near. After she waited 15 minutes, Paul came out and signed her ticket and my "All Shook Down" CD cover. He asked, "Did you like it", and "Is your boyfriend here". Jen also got to talk to the guitarist, (Dan ?), and he said to her, "YOu were in the front row. I remember you being in pain during the slam dancing, I'm sorry that happened," I was so jealous of her talkin' to these guys, but I finally got my chance. Some people went around to the other side of the bus and Paul came out again. I got him to sign some thinkgs, and asked him about the "Skyway". I said "Do you know about that computer thing the "Skyway". Paul said, "Oh yeah, I know it". Me:"You want another copy sent to you P: No, I don't want any more Me: We're doing a survey on your best stuff, etc... P: (In the midst of signing other autographs) Cool...(and that was it) He was cool and thankful to his fans, and even brought a Coke out for someone that said he was thirsty. Well, the end of my night was not like that. Jen and I went back to her car and her headlights were broken. We couldn't drive home (at night) so we slept in it over night, woke up a dawn, drove an hour to Purdue, and were in class (tired and hysterical) by 9 AM. What a night!!!! P.S. The new Time Mag has Pearl Jam on the cover, in the article they say something about the Mats being the "Teenage Wasteland Band" of the 80's, and now P.J. is the band for the 90's Matfully yours, Roy --===---===---===---===---===---===---===---===---===---===---===---===---===-- From: Jipson Art on Fri, Oct 22, 1993 11:44 AM Matt (our esteemed editor) and other Skyway regulars, Here is the Westerberg review that I promised. Before the show I talked to a guy from California. He said that his last concert was seeing the 'Mats in California and that he had no idea what to expect. I told him what the Detroit show was like and he got real excited. It was nice. The doors opened at 7:30 a bit early for a 9:00 show but 'what the hey. ' They played Chris Mars and Bash and Pop on the sound system before Walt Mink took the stage. I think several of us were shouting "IRONY!!" Does Paul do that at other shows? Or was that something that Bogarts did? Paul Westerberg Bogarts, Cincinnati, Ohio October 20, 1993 Ann and I returned to Bogarts just one week after seeing a triumphant Connells show. Hey, next week we're seeing Buffalo Tom there, too. Damn, we love Cincinnati! Our expectations ran high. On August 14th we saw an incredible Westerbergian show. He played "Answering Machine"! He wore a frilly pink shirt! He abused his road crew! What more could you want? The backing band were really into it, except occasionaly the bass player looked comotose, as if he were waiting for a bus or something. At first the Cincinnati show looked like it might be a stinker. The opener, Walt Mink, reminded Ann of the prog. band Rush with all their jamming and un-rock like drumming, which is not too pleasant a thought. There were Westerberg T-shirts, but they were $20.00 and $27.00 (Oucha-woucha) so the tees were forgone for some really bad beer. Worst of all the sound mix for PW and the boys sucked at first. The low ends were way too loud. And the highs were drowned out. Say what you will about the "atmosphere" of a concert: the sweat, having other fans close by, watching your heroes perform. If the sound is bad there just ain't no fuckin' point. Luckily about four songs in the sound improved greatly...tenfold. Sadly, this improvement started for "First Glimmer" which Ann showed her hatred for by going to the bathroom and staying there for most of the tune. After that a super-slowed down version of "Down Love" Paul rolled up his sleeves and stated in his initmitable snotty yet likable way "Put that in your funking computer!" A reference to our own beloved skyway perhaps? Hmmmm.... The highlight of the night came when Paul asked the crowd for requests and a couple people shouted for "Hootenanny!" Paul got this demonic grin on his face, hoped OVER the drums, grabbed the sticks from Josh and proceeded to bash (badly) on the drums while singing "Hootenanny." Josh sat bewildered on the riser holding Paul's guitar until Paul barked happily, "It's in E babe." Then they went through a sloppier than ever (If that's possible) version of the song. The crowd went nuts! Other magic moments include: A blistering "I Will Dare" that midway became "Turning Japanese" sung by Dave Minnehan (guitar, for those wondering). Later Paul decided to lay down. "It's naptime" for about 20 seconds of lounge jazz by the rest of the band. "Spyro Gyra will be here next week," Paul proclaimed. While still laying down he attempted "Skyway" while a roadie held the mike for him. He cut it short because he couldn't stop laughing. All in all, Paul seemed in a nicely goofy mood which made everybody in the band seem more relaxed. We've had the (dis)pleasure of seeing the man act like a prime asshole (Kalamazoo, 1991) which makes everybody a wreck. We loved seeing him anyway--but this time we had more fun! I think someone may have mentioned this before, why is it that when Paul does "Here comes a Regular" some folks in the audience hold their beer aloft and cheer like pig-dogs at certain key points in the song. This is not "99 bottles of beer on the wall." This is a song about being a drunk, knowing you're a drunk and feeling pretty damn lousy about that fact. I swear one jerk brayed the word "Party!" at one point. Kill 'em all. Any of these people ever hear about self-depreciating humor and irony. No, I'm not suprised, either. Anyhoo, it was a whole lotta fun! He didn't do his near hits "World Class Fad" and "Dyslexic Heart." Note from Art: Some of you don't like "Dyslexic Heart"--bite me--it's a great song live and otherwise and I wanted him to do it. Here's the set list: Waiting for Somebody Another Girl, Another Planet Mannequin Shop (sound improved a bit) Achin' to be First Glimmer (the sound improved greatly here) Waitress in the Sky Dice Behind Your Shades Few Minutes of Silence Down Love (Slowed down) Merry go Round Seein' Her Hootenanny That "Hey you sit yer butt down" song, yechh! I Will Dare Turning Japanese (Dave sang--GREAT!) Knockin on Mine (Paul railed against many things not mentioned in the song) Skyway Things Runaway Wind (GREAT version) Buck Hill Death of a Clown (Dave sang this Kinks cover) Can't Hardly Wait I'll Be You Askin' Me Lies Left of the Dial Alex Chilton After "Buck Hill," Paul went backstage for about 30 seconds in which Dave began "Death of a Clown." When Paul reemerged he was wearing this enormous awful "looing" green tie. Whatever gets you through the night, babe. Encore: Here Comes a Regular Valentine Just Gimme some kind of Sign (Yeah, I don't know either some 70s song that he loves--he introduced it as "You're in for a special treat!" Was a good cover though). Daydream Believer Well, that covers the show. If people want to ask me questions either post to skyway or us at: jipson_art@msmail.muohio.edu. Bye. Art "Be my burden, Christ I'm certain, I'm already bound, I'm not ever, quite together, I'm might sort it out." --Mike Connell "Burden" --===---===---===---===---===---===---===---===---===---===---===---===---===-- Date: Mon, 25 Oct 93 16:16:54 CST From: "M@" [the idiot that runs this list] Subject: Paul Westerberg in Columbia I don't know where quite to begin. Maybe for references sake, I should start with the night before. The floor that I'm an R.A. on had a lock in at the local YMCA recreation center from midnight until 8 a.m. on Saturday night...(I guess that's Sunday morning). 8 hours of fun with our sister floor playing volleyball, racquetball, watching movies, pizza (and later, doughnuts), video games, board games, hot tub, sauna, slam dunking a basketball into the hoop off a trampoline. Arrived back at 258 Dobson Hall at 8:19 a.m. Sunday morning and crashed. Three hours later, I was awoken by the telephone. It was my friend Matt Hoffman offering me his Paul Westerberg ticket for that evening. I was blearly-eyed and blearly-minded as I tried to figure out my environment: "What the hell time did I go to bed last night?" I asked myself verbally. (Matt responded with something like, "Sounds like it was about 5 minutes ago...") After mentally calculating my responsibilities for the day and what I was going to have to rearrange, I told him that I'd be up for the trip. Even though I had already seen this concert three times in three different states, I was up for another show. It wasn't a rational decision, but I was like, "what the hell..." The reason that I had previously declined attending this Sunday, October 24th show is that it was held in a theater instead of Columbia's typical alternative club, The Blue Note. I pictured this show to be an arena sized event, with everyone confined to their seats by ticket number. Hardly an environment for spontaneous and incredible music, as I thought. And since I had heard about the show three weeks ago, I assumed that I was going to be relegated to the nosebleed seats with the decent places already claimed. And besides, I just shelled out $17.50 to see him in Iowa City for the third time. I think I'd have my junkie's fix of Paul for the moment. So I hadn't bothered planning to go... ..so how I ended up at this show was a rash decision that was considered for about 320 seconds in a mind racked by disapointingly academic performance this semester and a lack of sleep. "Drag my ass out of bed, Drag my head out of my ass..." -- Second Hand Buzz 'Beer For Breakfast' At 5 p.m., six of us piled in a station wagon. I brought my pillow and my sleeping bag. (Being small has its advantages: the rear cubicle of an average-sized station wagon can be easily converted into a relatively queen sized bed.) And my copy of "Harun and the Sea Of Stories" which was due for my Asian Literature class in 60 hours. (I finished it on the way there.) The trip from Kirksville MO to Columbia MO is about an hour and a half. My only thing to say about the trip is to avoid the chocolate milkshakes at the Hardees in Moberly MO. They really suck. After running around Columbia (home of "Mizzou" and a very large and intoxicated fraternity scene) attempting to find some female who allegedly had our tickets ("Where the fuck is Rollins Street?"), we made it to the show in time to catch Walt Mink. I was pleasantly surprised at the venue. It was not the large arena that I expected it to be. Instead, it was smaller than the Blue Note; much smaller. It was a tiny theater where the local theater depart- ment shows their plays in. (My school of 6,000 had a main auditorium 1.5 times the size of this, which was possessed by a school of aprrox. 32,000. So I assume it wasn't their main auditorium.) It had a balcony (which was completely empty) and a main floor (which was around 1/4ths full). I was wondering where everybody was hiding...not in the lobby...not in the bathrooms...maybe everybody was going to storm in the place after the opening act was done. The crowd never showed up. This concert, terribly publicized, was unknown to the populace of Columbia. (How my friends caught wind of it must've been a coincidental miracle...more on these later.) I cannot guess the sizes of crowds at all. But I venture to say that there was about 150-250 people there. In other words, the place was empty. For reference sake, tickets were an astounding $8. The meager crowd vacated their seats and walked up to the small place between the stage and the chairs. It wasn't even an orchestra pit. It was the equivalent of about three rows of chairs. And everybody in the joint fit in this space comfortably. I ended up brushing against a single person THREE times throughout the entire show...and I felt the need to apologize. It was that laid back: no slamming, crushing, thrashing pit. We all could've been hearing a speaker or watching a CSNY concert. Except for a few of my friends who were jumping and screaming throughout the entire show, and me and a few others who were bobbing their heads and tapping our feet, it was incredibly laid back. There was a single person between me and the stage. There was no barricade, no tree-sized-forearms bouncers. There were four guys from the Mizzou's equivalent of the Student Activities Board standing in the front 'row' of people to make sure that nothing happened, but they were indistinguishable from the rest of the people that were there except for their "College Music Concert Board" or whatever t-shirts. It was Roger Waters' wet dream: no walls between the performer and the audience. There's a band that lives next door to me in Omaha. (They alternate between there and California.) They're called 311 and they've recently had moderate success with their new album. (A video on MTV, played for about a month on Alternative Nation/120 Minutes). I grew up with the lead singer (we always went to the same 4th of July block party and everything) and have seen the band around 25 times...and I have NEVER been able to get this close to THAT band during their performances as I was as close to Paul during this show. The entire show took on a surreal quality, that was probably enhanced by my practice of sleep deprivation. It was insane: I was seeing Paul Westerberg on a whim, with a minimal audience (smaller than those damn MTV Unplugged concerts|) and I was sooooo close to him and the stage. Little did I know how surreal and dreamlike the evening was going to get. When Paul came out, I thought he'd see the crowd and get totally pissed off. Instead, he SMILED the biggest smile I've ever seen from him and said, "I'd like to meet each one of you personally." He spent about a minute and a half shaking people's hands before launching into the first song. I am fuzzy as to what order the songs came in. After seeing him for the fourth time and hearing the album on the way down to the show and the lack of sleep, all the shows kind of run together. But here's the details: * I remember Achin' To Be, a slowed down beginning of Hold My Life (incredible), Runaway Wind, Waiting For Somebody (second song), Silver Naked Ladies, First Glimmer, Maniquinn Shop...and Seeing Her (which my friends screamed the words during the intro, which made Paul stop singing and murmur, "Sing it, guys...") Paul had also forgotten the words to the first chorus of "Achin' to Be" and asked the crowd what they were. * He asked the crowd where they were from. He gave individual responses to everybody's answers..."Geez, I feel like an auctioneer up here." He asked if anybody was from Chicago/Ann Arbor. "I love this kind of show alot more than last night. Much more personal." * He was taking requests. Somebody yelled, "Another Girl Another Planet" and he goes, "Uh, okay." and played it. (I later found it that it wasn't on the set list.) * He canvassed the crowd for a cigarette and bummed one off somebody in the front row. (Just a clue at how small the crowd was.) * After a song, he seemed confused...or like he was thinking. He went up to the microphone and played some NOISE on his guitar (sounded roughly like a needle being scraped along a record) and goes, "Duh." I yelled "Rattlesnake|" because that's exactly what it sounded like. Paul said, "Hmmm...well how bout I'MINLOVEWITHAGIRLWHOWORKSATASTOREWHERE I'MNOTHINGBUTACUSTOMERCUSTOMERCUSTOMER|||" Yeah, I was fuckin' floored. Dave Minnhehan started playing "Turning Japanese" by the Vapors. Few in the crowd seemed to recognize the song but it's always been one of my all-time faves. (I always throw it on tapes that I make for people. And "Death of a Clown" holds an incredibly soft spot in my heart too. So does anybody know what The Neighborhoods are like? This Minnehan guy, besides from being a /great/ guitarist, and having the most energetic stage presence that I can think of, loves the same rarities that I do. I gotta find a way to meet this guy.) (For bass players: he was using his "AMP"eg SVT again during this show. Whew...that solid state Gallien Kruger sounded so clanky, mechanical, and cold. I LOVE tube amps.) Throughout the entire show, I sat in amazement. I couldn't believe that I was this close to seeing Paul in such intimate surroundings. And the sound was INCREDIBLE. I caught the entire show from the band's amps...it sounded so crisp and real and immediate. Like you were watching the band in their rehersal space, not in a live show. And I was kind of scared and pissed...scared at how easy it would've been to miss this show, how much of a coincidence it was that I was there... and pissed that if I would've know how initimate it was, there were 5 or 6 friends I wanted to bring...the ones that had seen the Iowa City show and some friends that had never seen him, just to show, "See man, this is what it's all about..." Someone else to experience how incredible and intimate it all was. Then this is it...this is the thing that made the entire evening seem so unreal...so dreamy... ...during the "No sex no drugs no..." part of "Turning Japanese", I took my (adoring) glance away from Dave and I looked at Paul. He was sprawled out on the stage right in front of me. I was kinda laughing...this gig had become so laid back and personal, that Paul was playing this song laying on his back. After the song ended, Dave came over to Paul and Paul said, "You wanna sing this one?" They played "Knockin' on Mine"...and Dave sang it except he held the microphone up to Paul so he could sing the "Comic books, roadmaps, (gasp) ... whatever you want to read". His voice sounded so strained. I figured that it was hard to sing laying on your back like that, your larynx isn't in the right position, especially with your head trying to bend up to the microphone. Then, during the solo (which Paul's solos had been AMAZING all night... I didn't know that he was so empathetic at soloing...I thought that was Bob and Slim's job...) in "Knockin' On Mine", he was STRETCHING to reach the distortion pedal. I thought he was just being lazy. Except there was a noticeable quiver to his hands... After the song, the bass player put down his bass and walked over to Paul. It then looked like Paul wasn't laying on the ground for shits and giggles...he couldn't get up. He gently picked Paul up in his arms. Paul looked so frail and thin and weak in his arms. It was so sad. Dave Minnehan said in the mic, "This is the real thing, guys. I'm sorry. Good night." We sat around and murmured amongst ourselves for about five minutes before a roadie came back onstage and said, "We've called an ambulance. The show's over." Somebody yelled "What's wrong?". The roadie answered "Back problems". My friends and I could've easily ran outside the side door where we saw the flashing red and blue lights of an ambulance. We decided that it would be better to leave him to his privacy. All during the ride home, we threw back and forth theories about what could've happened. The back problems thing just didn't seem right. Earlier in the show, a roadie offered him a chair when he was looking weak...and he was shaking. It seemed more like a stroke to me. But I can only uselessly conjecture here until an official press release. Upon arrival back at Dobson Hall (home sweet home), I had the nagging, surging urge that I had to call someone and convey what I had just seen. I needed some kind of emotional released to what I had just experience: to be brought so high by the intimacy of the event and then to plummet so hard in shock and despair... Earlier, after the roadie announced that the was was indeed over, some- body had grabbed the set list from in front of the bassist player's monitor. I almost shouted a QI of despairing frustration when I saw at the bottom, plain as could be, the song that had been eluding me the three times that I'd seen Paul: aNswErINg mAchiNE It just all seemed so unreal. I didn't feel gyped or angry at all. I got my money's worth in the first five minutes. But I couldn't believe at what I had just seen. The ride home was somber. I sat with my feet against the tailgate and my back against the rear seats, looking out the back window at the open, rural Missouri night sky that passed by. I caught glimpse of a shooting star. I smirked and whispered, "Valentine." - Matthew Tomich 3/26/93 3:56 p.m. _____ ___ . /\/\ @ ! ! )-( <- \/\/ ! 0 /\/\ 1 < )-( i261%nemomus@academic.nemostate.edu (816)-785-5220 --===---===---===---===---===---===---===---===---===---===---===---===---===-- [Note: I don't know the status of these shows after what happened in Columbia but here's the list...thanks Diego! -M@] Date: 19 Oct 93 12:19 EDT From: navarret@oasys.dt.navy.mil (Diego Navarrete) Subject: Paul tour dates Hello and thanks again for having me on the mailing list. I just received a fax from the folks at sire and they sent me Paul's itenerary until december. Hope you all can use it to plan appropriate road trips (i'll be doing the east coast as best i can). Here it is (i know that some of the dates have passed; but as overall info, its not bad): Oct 14 Champaign IL Foellinger Auditorium 15 Madison WI R&R Station 16 Iowa City IA Main Lounge 18 Inidianapolis IN The Vogue 19* Columbus OH Newport Music Hall 20 Cincinnati OH Bogarts 21 Ann Arbor MI Michigan Theatre 23 Chicago IL Riviera Ballroom 24* Columbia MO Jesse Auditorium 25 Lawrence KS Kansas Union Ballroom 26* Norman OK Hollywood Theatre 28 Denver Co Ogden Theatre 30 Seattle WA Moore Theatre 31 Vancouver BC Town Pump Nov 1 Vancouver BC Commodore Ballroom 2 Portland OR La Luna 4 San Francisco CA The Warfield 5 Los Angeles CA Roxy Theatre 6 Los Angeless CA Palladium 8 San Diego CA Spreckles 9 Phoenix AZ Club Rio 10 Santa Fe NM Luna 12* Austin TX Terrace 13* Dallas TX Deep Ellum Live 14 Houston TX Tower Theater 15 New Orleans LA Tipitina's 17* Bloomington IL Memorial Center 19* Cleveland OH Agora Theatre 26* Pittsburgh PA Metropol 27* Toronto ONT Palladium Dec 1* Boston MA Orpheum Theater 2* Providence RI Lupo's 3* New York NY Roseland 6* Norwalk CT The Marquee 8* Philadelphia PA The Trocadero 9* College Park MD Ritchie Coliseum 10* Norfolk VA The Boathouse 15* Orlando FL Edge 16* Tampa FL The Ritz 18-19* Atlanta GA The Roxy NOTE: * ADDITIONAL DATES. All dates starting November 17 are tentative. Replaces itinerary dated 9/30/93. I hope this is useful. I have the complete list, including promoters, their phone numbers, etc., if you'd like to give them a call and find out when tixs go on sale, so e-mail me. diego /\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ ( Diego F Navarrete navarret@oasys.dt.navy.mil ) ( CDNSWC 1431 215-897-1218 ) ( Philadelphia, PA 19112-5083 ) \/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/ --===---===---===---===---===---===---===---===---===---===---===---===---===-- From: Brent Daniel Subject: Wow.. Date: Mon, 25 Oct 1993 17:10:38 -0500 (EDT) I just picked up the UK version of the World Class Fad single, and, as reported earlier, it's great. One problem, though. I can't stand that there's two editions of the same single (one with WCF, the singles songs, and a live version of Answering machine, and the other one with WCF, Can't hardly wait, Left of the Dial, and Another Girl, Another Planet). I would love to have the live version of Answering Machine, but don't feel like shelling out $10 for one song. Warner Bros. has taken this milking the fan stuff to an art form. Just about every REM single has four different versions, with about one extra song on each. So, there are like 15+ singles from their current album alone. Hopefully the same thing doesn't happen with Westerburg singles. -- Brent "Well the movie star crashed her car, and everyone said she was beautiful even without her head" --Cracker --===---===---===---===---===---===---===---===---===---===---===---===---===-- Subject: Stuff and such... Date: Wed, 20 Oct 93 15:20:19 -0400 From: legro@credtech.com Matt: The one thing that stuck in my mind was from Here Comes a Regular; one of my favorite lines in all of Westerburg's work is (as I understood it): First the lights, then the collar (comes/goes- I forget) up; The wind begins to howl I think this captures in an incredibly concise way the feeling when they bring up the lights in a bar at closing time, and you put your collar up to go out into the fall cold. Before I embarass myself by sounding too effusive, I'll leave that be and just say that I hope this (or something like it) is in the new version of the lyrics. On the same topic, my friends and I long ago despaired of being able to understand all Tim's lyrics, but there are parts where you just have to sing along, so we came to some consensus about what we would sing in those untelligible parts. The best example I can think of is from Left of the Dial: (we sing) On and on and on and on I sat on your mom. bye-for-now Wayne Legro legro@credtech.com --===---===---===---===---===---===---===---===---===---===---===---===---===-- Date: October 26th, 1993 16:07:21 CST From: Matthew Tomich (i261%nemomus@academic.nemostate.edu) Some friends of mine (including Keith Russell, who is subscribed to this list and has one of the best ears for interpreting the unintelligible voice of Paul that I've ever met) think they've figured out that line from Left of the Dial: "On and on and on and on It's sad to move on" As Keith pointed out, it fits with the theme of the song quite nicely...I really liked it. Keith and his friends also bootlegged the first half of the Westerberg concert in Columbia onto a dictation recorder. I guess it sounds pretty good (we're going to dump it onto a real tape tonight), but for some reason, the second side was left blank. So we lost the part where Paul took left the stage as well as the version of "Customer". Keith's address is: j125%nemomus@academic.nemostate.edu (tell him that you want THE REAL DEAL.) -- M@ --===---===---===---===---===---===---===---===---===---===---===---===---===-- Date: 26 Oct 1993 09:40:09 -0500 From: "Teddie James" Subject: Slim Dunlap concert review Slim Dunlap concert review Last night (10/25/93), former Mat Slim Dunlap opened for Dramarama at Liberty Lunch in Austin. The crowd was kind of disappointing. About 20 people showed up, and most of them were there for Dramarama. Slim didn't seem to mind. He kept making jokes about how they would be finished soon enough so we could see Dramarama. He seemed to feel at home playing to such a small crowd. Earlier in the day, Slim did a solo acoustic performance at Tower Records. I was planning to go, but somehow I couldn't make it. I arrived at Liberty Lunch at 9:00, just as the band kicked in. I couldn't believe how thin Slim was. This guy really is a walking skeleton. I'm pretty thin, but he makes me look stocky. Anyway, having not heard his album yet, I was kind of surprised after a few songs. This guy can really sing. His songs are pretty good, too. His ballads kind of reminded me a little of Bruce Springsteen. His rockers had that typical Stones feel that Tommy's songs have. And of course, I heard some Replacements in there, too. I was expecting at least one Mats cover. All they played in this brief (45 minutes) set were Slim originals. That's fine with me. I'd rather hear original songs, anyway. The quality of the songs made me want to go buy the album, so I guess I'll finally pick it up. Slim's kind of funny and kind of hokey at times. He always tells a story before each song explaining why he wrote it. The best one was one that he said got him in trouble. He was sitting at home in Minneapolis watching TV, and his wife was gossiping (his words, not mine) on the phone like they usually do when he overheard his wife talking about how a certain local band had made it big (no names mentioned). After they came back from playing all over the world, they came back and dumped their longtime girlfriends. He overheard his wife say, "Well, I guess there ain't no fair in a rock and roll love affair." At that point, he said, "Thank you honey. I'll be back in a few minutes." That's how he wrote that song. And I think we know which Minneapolis band he's talking about. Overall, it was a good show. I like his songs a little better than Tommy's. The mix was poor, though. There was too much bass and drums and not enough vocals and guitar. That's unusual for Liberty Lunch. I was a little disappointed that SLim didn't cut loose on any Keith Richards-inspired guitar solos. His few solos were very minimal. And his other guitarist's solos were the same way. At one point, Dramarama's keyboard player came out and played harmonica on one song. I haven't been mentioning song titles because I'm not familiar with his songs, yet. I left after Slim's band finished. I'm not much into Dramarama. Besides, it was Monday night, and I had been out the last four nights, so I wimped out and went home. I did, however, get almost the whole show on tape. I missed the first 10 seconds or so. The tape sounds pretty good for the most part. There are times when the vocals are garbled, but all of Slim's stories are audible. If anybody wants a copy of this, I'll handle it in the same way as I did with the Westerberg tape. I'll trade you a copy of this for a copy of something else. Send me your list. Or I'll take $4.00 to cover the blank tape and shipping. Or I'll take a blank tape and $2.00. The whole set takes up one side of a 90-minute tape. I always use Maxell XL-II tapes. I can fill in the other side of the tape with something else, too. Let me know if you're interested. There won't be a setlist because I'm not familiar with his songs, and I don't have the album, yet. I'm going to work on getting a copy of the Austin Bash & Pop concert from earlier this year. Seeya, Ted James teddie_james@csicqm.sps.mot.com --===---===---===---===---===---===---===---===---===---===---===---===---===-- Date: 17 Oct 93 19:54:15 EDT From: Justin.S.Cooper@Dartmouth.EDU (Justin S. Cooper) Subject: like a rolling pin Well, guys, I have gotten lots of responses from people explaining that the "Bob" Paul addresses on "Like a Rolling Pin" is Bob Dylan, but my original question has not actually been answered: Who plays guitar on the song??? There are two guitars played, one of which is pretty clearly Paul's, and I would like to know who plays the other. Anyone have any ideas? Thanks, --Justin --===---===---===---===---===---===---===---===---===---===---===---===---===-- Date: 18 Oct 1993 15:42:20 U From: "Jipson Art" Subject: Tapers Quarterly Matt, Just what is this commercial? Is it legitimate? What do we know about it? I am kind of reluctant to send money to a place that will take cash (see the ad). Has anybody had dealings with Taper's Quarterly before? Art [You know Art, I have no idea how legit it is. Yeah, I'd say it was a commercial of some sort...the guy didn't subscribe to the Skyway I think... at least not under the address that he sent that from when I checked. That's why I put the big disclaimer in front of it. And I'm really opposed to the Internet being overrun by any sort of market forces, but I thought it would be of interest to somebody out there, so I decided to keep it in the issue. That's my take on the whole thing. - M@ P.S. As I was waiting to talk to my Genetics professor today, I thumbed through fiberoptics industry magazine. There was a quote from some guy saying how the "internet community" detested traditional advertising methods on their turf "with rancor".] --===---===---===---===---===---===---===---===---===---===---===---===---===-- fin. Get well soon, Paul.