---===---===---===---===---===---===---===---===---===---===---===---===---===-- 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 #16 April 15th, 1994 (c) 1994 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. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- Fuck School. April 15th, 1994. Thank God It's Friday. ----------------------------------------- I. NOT COOL ALERT: Kurt is dead. [M@] II. NEW PEOPLE! Robert Wilberg, Susan Park, Tim Williamson, 'HDEVADPM' Daryl Berg, Karen Payne III. STUFF: Brent Daniel IV. BOOKS: The messiah is here and she loves Paul. [kathms@aol.com] V. TELEVISION AND RED LIGHTS: 'Ron' VI. WHAT SOMEBODY ELSE THINKS: All-Music Guide reviews of the 'Mats (submitted by "I Hate My Goddamn Job" Mark Fisher) VII. HISTORY LESSON: Article circa 'Shit Hits the Fans' thanks to 'Ron' VIII. HISTORY LESSON (PART II): 1991 'Mats tour schedule [Charles Ford] IX. WESTERBERG CD BOOTLEG TRACK LISTING: 'Lucky's Revenge' [Ric Dube] X. TAPER'S QUARTERLY ARTICLE: "Collecting The Replacements (Part III): Outtakes and Stuff" [Charles Ford] XI. HEY LOSER: You in a band? Send in yer damn tape! [Mark Timmins] XII. WORDS: 'Knockin' On Mine' interpretation ['Seaduck'] ---===---===---===---===---===---===---===---===---===---===---===---===---===-- TRYING TO MAKE IT THROUGH THE EDUCATIONAL SQUEEZE Term paper #4321a by Matt "Let Me Up, I'd Had Enough" Tomich But the answer is not a hole in the head. I'll miss you, Kurtus. "Fallin' in love for the hundred millionth time..." Anyways... Again, it's been another month. Don't worry...once the summer comes, the issues will be coming out about once every two weeks, if not sooner. It's just this school thing. I mean, you pay for it for one, and then they give YOU work to do. And then they test you on it. So you get the short end of the stick in all three ways. Real quick: * Hey! Mark Timmins, what a guy! He looked over the lyrics to "14 Songs" that Van Heins did, make a few corrections on stuff that Van wasn't sure of, and resubmitted them. The new version probably won't be up on the gopher until the end of the semester (in a few weeks), so if you want the new stab at the words, just write me back and I'll forward them to you... * Uncle Tupelo is 'reassessing' its structure as a band at the end of its current tour. If you've never heard these guys, you really should. And if you have, you should see them before they go the way of other great bands that we all know and love (hint.) Their final two shows are in Missouri: at the Blue Note in Columbia and Mississippi Nights in St. Louis. I'll be at the Friday, April 29th show at the Blue Note, as will other Skyway members such as Tupelo list guy Jake Roberts. So write me and tell me if you're gonna be there so we can trade bootlegs, stories, and tears over the (quite possible) loss of one of America's musical treasures. * If you're gonna be losin' your account this summer, please let me know. Just drop a letter by this address and I'll write yah back sayin' "See you in the fall..." This would really help in the amount of bounces that I got last summer in the first 'post-educational- institution-release' issue. And be sure and write back in the fall and tell us how your summer was and what trouble you got into. * If Poi Dog Pondering is coming anywhere near you, go see them! A very sincere, happy, and fun time. Go with someone you love (or someone you'd love to love.) I've seen them twice (time number two was last night)...and both times they covered "Can't Hardly Wait." 'Nuff said right there. It's the end of the semester and I'm beat to hell...so next time you hear from me, I'll be my normally obnoxious self in the intro. Oh yeah, before I go, here's a word of advice: When purchasing alcohol for friends, and they request of a 40 ounce bottle of "anything", refrain from some foul potion called 'Magnum'. My naive butt that doesn't drink didn't know anything about this crap when I bought it at the Quik-Pantry in Columbia Missouri before a Yo La Tengo show for a friend who is 5 months shy of legal age. (It wasn't like I was loading up for some 12 year old's slumber party or anything.) But the poor guy took a while to recover and we were pretty sure that he was going to be fucked up for life. I guess as a rule you should never drink anything that's named after a handgun. Love, Matt 'Wouldn't live in the city if you paid me to, |\ --- There's so much goin' on but nothing to do.' --> |/ / oo |etting --- ------------------------------------------------------------------------------- Date: Wed, 13 Apr 1994 20:47:08 -0600 (MDT) From: Robert Wiberg Subject: First posting... Hey there everybody. And now, the line that I'm sure you've all heard a thousand tired times: "I'm finally getting around to writing in..." I subscribed in December of '93 I believe, so this really is a long overdue post. First, I'd like to say how much I appreciate the very existance of this group, I love the Replacements and it means a whole lot to me to be able to read about them and get to actually hear some first-hand stories and such. I live in Albuquerque, New Mexico and, tragically, never got to see them in concert out here in the desert; so, l appreciate the stories all the more. (Makes them seem more 'real' somehow. I mean, this band you love and listen to, but never get to SEE, breaks up and it becomes this sort of "man, who were these guys?") Anyway, Thanks for the group. Now... I'm 27 and began listening to the 'Mats in spring of 1986. I was a freshman in college and a heavy music junkie and took a job as a disc jockey. I came into contact with a guy who had a copy of Let it Be. He wasn't especially taken with it. It changed My life. After this first listen, I went out looking for albums immediately and found........Nothing! There wasn't anything on the shelves around here, but I special ordered Let it Be and the shop ordered another copy. The owner liked it and got ahold of more over the next few months. (It was only after Pleased to Meet Me did I begin to see the 'Mats around in any real numbers) I'm impressed by the way people relate their reactions to the band. I suppose I never really guessed that they were affecting anyone the way they got to me, but now I realize that that is exactly why they are the greatest. The ability to speak to every listener as if they'd known you all your life, that's a true gift. Another amazing thing is that the music never gets old. After years of trudging through endless bands and sounds, I never get tired of the 'Mats, and I always find somethin new in there. Glad to know others do also. Reading the survey and such, I was forced to consider favorites and that sort of thing. I certainly won't reply to everything there (no offense!) but I will wax fondly for a moment on some of the major themes. I really love Let it Be. It's my favorite album. (period). They never did anything rotten as far as I'm concerned. Hootenany is amazing for the chances it takes, Pleased to Meet Me for its cohesiveness. They all have a life of their own - even Stink! gets equal time in my player. If it's not too much, I would say that I feel like my life is remembered, explained, analyzed and put to music through their albums. Like many, I associate whole periods of my life with certain songs and albums, but the Replacements music covers it all. I have one live bootleg on CD - Live at Lingerie and it is my pride and joy! I was seething with Jealousy after reading the last Skyway in which there was a lot of talk about different live stuff...I hope to find some of these other recordings before I die. I know I keep getting off the subject - I think Tim is my second favorite (if I HAVE to pick) and then the rest sort of mix together as a close 3rd. Although I will say that I look at All Shook Down as kind of a different animal. I enjoy it as much as the rest, but it does seem very much like Paul's album and not as much The Replacements, which I understand it was, but I feel that distinction still needs to be stated. Oh wow, Paul. Man, talk about depression. Westerberg is scheduled to play in Sante Fe (about 50 miles from me) in July 1993. The closest I'll ever come to seeing the Replacements OR to meeting god, right? He cancells. No problem, he reschedules for November! Then with tickets in hand and 6 days to go.....he cancells again because of his accident. Man, I tell you. I haven't been so bummed in all my life. 14 Songs has been getting a major workout on my player and I just scored a boot of him live at the Whiskey too! It's called "Lucky's Revenge" and apparently was recorded on the second night of a two night stint there in summer '93. He makes a lot of references to the previous night's show and how he's trying to avoid repeating songs... I'd really like to get the first night of that show! Oh well. I've become really hooked on the song 'Things' off his album, and fortunately it's on the boot too. In fact he forgets a line in the middle - it's a kick. I also will say that although I'm not crazy about Slim's new solo, and not too taken with Mars' stuff, I really love Tommy's Friday Night CD. It's really a strong album and I'm really looking forward to more Bash and Pop. I could get really sappy about the way the songs affect me and how I get really emotionally involved by it all, but you folks know what that's all about. I will spare you. Suffice it to say that, after bunches of years and hundreds of artists, I haven't found anyone to touch 'em and I've accepted the possibility that I may die with Westerberg singing in my ear! That would be fine with me. I don't disc-jockey anymore, I cut my hair about 5 years ago (my long hair, I wear it short now) and I work at a regional depository for Government Publications at the University of New Mexico to pay the bills. I am an artist and my first loves are painting and music. I would love to hear from anyone out there who wants to chat about the Replacements or music or art in general and in the meantime, I'll keep reading the Skyway and keeping up with the 'Mats. Thanks for listening! Robert Wiberg spike@carina.unm.edu ------------------------------------------------------------------------------- Date: Tue, 12 Apr 1994 03:33:54 -0400 (EDT) From: Susan Park Subject: 1st //skyway\\ post Hi Matt! You know, I can't believe that //Skyway\\ has been around for a while now and I just discovered this now. Anyway, I'm home!! Finally, I can see that there are other 'mats freaks like me. None of my friends (except maybe 1) understand their greatness, nor do they care. But they at least they don't think that Paul is the name of my dentist; I've made sure of that. So, my story starts back in 1987 when I was your average top40 loser (hey, I was only 14 with no musical direction) and one day my brother brings home his friend's copy of Pleased To Meet Me. I didn't like it at first (not being used to hearing good music) and refused to say that it was any good. But after a few times, I couldnt resist the infectious chorus of Alex Chilton or the Memphis horns in Can't Hardly wait and I was permanently hooked. I ran out and bought Tim, my 1st CD ever for my 1st stereo, and played it on repeat for the longest time, which I still do to this day (unfortunately on the same, now near dead, stereo). And so began my love affair with the 'mats. I've seen them together 3 times since, twice at the Beacon and once at the Ritz. On their All Shook Down Tour, I desperately wanted to go to both shows, but couldn't get tickets for the Beacon. So in my quest to win tickets from the radio (you had to sing the next line of a 'mats song) I wrote out the lyrics to about 13 songs as best as I could (Paul can be so hard to understand sometimes)and listened nonstop for at least a week. I did win and of course it was well worth the emabarrassment of having my horrid singing voice broadcasted. I thought that I was so pathetic at the time, but I'm sure that much more desperate measures have been taken to see the 'mats. Needless to say, they're my all-time favorite group. I love the fact that any one of their albums are so diverse that the songs can match any of my moods. No one can capture such raw feeling in words and put it to music like Paul can. And even though some may say that Paul sucks now because he's all mellow, that's full of shit. His songwriting on 14 Songs is still brilliant. Though I thought initially the album was underwhelming, it has completely grown on me and I think it's just great. Especially after seeing him live, you know that he can still rock. I also have Bash&Pop, which I thinks shows Tommy's promise for the future. Still kicking myself for missing him at CB's. Oh well, I could go on and on, but this is long enough as it is. I'm just tickled to read that there are others that love them as much as I do. And closing with their best 'loser' spirit, - " Tonight makes love to you, tomorrow's mine." -sue ------------------------------------------------------------------------------- Date: Tue, 12 Apr 1994 20:10:34 +0200 From: Tim Williamson >Okay, this is my first write-in to this most divine publication, and would >personally like to thank all of you who made this possible. I feel somewhat >of a novice writing into this group. I guess somewhere along my junior year >in highschool, (three years ago), I was watching Postmodern Mtv and saw these >group of guys, who were at least play-acting drunk, (though now I'm fairly >sure they weren't acting), singing a song by the name of I'll Be You. I loved >the song, and i loved just the sheer fun these guys were having playing. So >that was my "virgin" 'Mats experience. But admittedly, I really dragged my >feet about getting into this band, and it cost me the chance of ever seeing >the 'Mats live. My friend and I (he's the one who sent me the address of the >newsletter) started discussing our slight interest in the band about a year >later, and for some reason or another, we both gradually turned into huge >'Mats fans. Although I personally do not own an extensive collection of >bootlegs and videos, or whatever, I have had a chance to see Paul on his >latest tour twice, and would pay a lot to see him again. If anything, I can >really appreciate and understand the idolatry you all have for the 'Mats, >because I myself have grown to share it. > I think that Don't Tell A Soul is the 'Mats best effort and my >favorite. I may incur the wrath of some old-schooler because I'm choosing >Slim over Bob and the fairly new to the older stuff. Well screw you if you >disagree. Followed by: Tim, Pleased to Meet Me, Let it Be, All Shook Down, >Hootenanny, and although Stink and Sorry Ma from what I've heard are great, >they're at about the same, slightly lower level. ------------------------------------------------------------------------------- Date: Tue, 12 Apr 1994 20:11:13 -0500 (CDT) From: HDEVADPM@Admin.UH.EDU I received my subscription confirmation a few days ago and, unfortunately, have been too busy to write. But now that I have some time on my hands, I wanted to write and describe "what the Replacements mean to me." When I was a senior in high school, I picked up a copy of the recently released _Tim_. It was a time in music when Sire was the avatar of mainstream cool, so I took a gamble on this album. Up to then, I had never heard of the Replacements, nor had I listened to their music. But what a payoff. Rarely in my life have I come across a recording of such incredible emotional power and range. At the time, my father was losing himself to alcoholism (ironic, considering Bob's fate in the band), and the song "Here Comes a Regular" gave me an insight (even if it wasn't an accurate insight) into what he was going through. Everytime I listen to that particular piece of music, it makes me think of him. To this day, it is still my favorite Mats tune. Musically, what always impressed me about the Replacements is that they could delve into ballads without compromising their edge and that they could play seering rock without coming across as some second rate Stones parody. I've always thought of them as a hard-core pop outfit. I wish I could come up with some snappy aphorism to summarize the impact of the Replacements in my life. But I can't. They're simply one of my favorite musical outfits. ------------------------------------------------------------------------------- Date: Fri, 04 Mar 1994 12:25:00 -0500 (EST) From: DB2586%ALBNYVMS.bitnet@UACSC2.ALBANY.EDU Subject: my mats and jammer thang Well, my first experience with the Mats was when I heard "I'll Be You". That song, along with an REM ditty you may have heard, turned my eyes away from all the shit I listened to before. It was music that finally spoke to the intelligent rebel in me. The first disc I ever bought was "Don't Tell A Soul", advice I should take more often. Most vivid memory was when i was at a really cheesy sweet 16 party (I was 15) and my "friends" idea of being really musically progressive was doing the "Stand" dance. I requested "Nightclub Jitters" to the DJ. I don't think he had a clue. I remember I wore a bolo tie to that party, yeech!!!! Also, "Here Comes a Regular", makes me want to drink so I can have a real reason the be pathetic. Best songs: "Little Mascara" and "Bastards of Young", Generation X while Doug Coupland was still finding new pubes. later, Daryl G. Berg 324 Western Ave. 2nd floor Albany,NY 12203 or DB2586@rachel.albany.edu Look, new quote!!! "It's not the heat, it's the stupidity. It's not the drugs that did this to me." -- Too Much Joy ------------------------------------------------------------------------------- Date: Sun, 10 Apr 94 12:33:59 EST From: Karen Payne Subject: touring question So sad but true I have never seen them, or just Paul or any of his associates. Hell, I was raised in Athens, GA and never caught a show there (or in Atlanta) - I roamed around America and Europe for about 6 years and was never in the right place at the right time. Then I lived in Austin for 2 (count 'em TWO) years and as I'm reading back issues of //skyway\\ I find out that Paul (and Bob!) played liberty lunch a couple of _months_ after I move to Australia. There is no justice. So enough winging, the point is that I'll be in Arizona or Colorado in June, Georgia for July and August and then I'll be around Prague and Budapest in late August and then Edinburgh in early September before returning to Oz in mid September. If anyone knows of *any* dates (or rumors) *anywhere* on the any of the continents I have named I would _really_ appreciate a chance to see someone (Paul, Slim, Bob S. just _whoever_ is around but naturally, especially Paul). Thanks for that, Karen Payne kap603@huxley.anu.edu.au or karen@dart.anu.edu.au ------------------------------------------------------------------------------- Date: Thu, 7 Apr 1994 23:37:49 -0500 (EDT) From: Brent Daniel Subject: Various stuff On "Answering Machine" being personal to Paul - someone mentioned in the last Skyway that Paul is probably the only one playing on Answering Machine because he didn't want the band touching the song. It reminded me of a video I have (orange county speedway.. 91ish, I think..) where people start clapping loudly during the song, to which Paul shouts "QUIT!" Maybe someone's seen an interview where he's confirmed this.. but my guess as to why he doesn't play the song in concert very much is because it's too gut-wrenching for him. On the lyrics to "World Class Fad"... I hear "In your gassed-up casket".. maybe it's just me. The Mighty Lemon Drops do a pretty good version of "Another Girl, Another Planet." I just found it the other day while searching through CMJ compilation discs.. Pretty cool. I think it's obnoxious that MTV named their cheesy radio show "Left of the Dial." Ok.. so replacements, inc. doesn't have a copyright on the name.. but they should, darn it. Brent ------------------------------------------------------------------------------- Date: Sat, 02 Apr 94 09:47:06 EST From: kathms@aol.com Subject: my book review To the Skyway - Mats Literary Alert - Believe it or not, there is a great novel out there in which the mats, Paul and a little bit of Tommy, figure prominently. Those of you on Prodigy and AOL have already heard me rave about this book so you can skip over this part . The book is called "The Second Greatest Story Ever Told" and it's by Gorman Bechard. It's about the Second Coming actually, only this time, God sends his Daughter and she reveals herself as the Messiah circa 1987 - as an 18 year old from Cooperstown NY named Ilona. And her favorite band is the Mats and she has a big crush on Paul - well who doesn't right? Anyway, it's really very funny and the few scenes where the fictional Paul and Tommy makes appearances are really great - also great is the description of how the Mats music is subject to this intense scrutiny for religious subtext once she reveals they are her favorite band and how they deal with this huge fame that is thrust upon them.. The guy who wrote must be a huge fan, and besides the Mats content, it's a damn good book. End of my review - it's definitely worth checking out. If anyone out there is feeling particularly kind - I am sort of desperately looking for a copy of the Pleased to Meet Me demos - with "Birthday Carol" and "Time Is Killing Us" - I have some stuff to trade or however you want to work it out but I would really appreciate anyone who could help me on this....Thanks... Anyone out there know why "Men Without Ties" and "Seein Her" didn't end up on 14 Songs?? I just can't figure why either one of those amazing songs got left off in favor of something like "A Few Minutes of Silence"..... Kathy "But I'm so fully satisfied now, I can't possibly go back..." -- Paul at the Whiskey in response to yet another screeching request for "Unsatisfied" ------------------------------------------------------------------------------- Date: Fri, 01 Apr 94 03:58:43 EST From: swcoupe@aol.com Subject: Hello from Minneapolis Matt -- Finally got around to ''subscribing'' and received my first issue (#10) several days ago. I like it. These kind of no/low cost ''publications'' (well, except for the work on YOUR end, that is) are what make this on-line community thing so darn exciting. I'm looking forward to future issues. Given the vast amount of stuff out there it's inconceivable to me to ''waste'' time lurking and not contribute. Yet, it IS nearly 2:30 a.m. and I've got to get to work soon, so I'll keep it short. Two brief items: 1) That ''Razzle dazzle drizzle drone...Time for this one to come home'' line predates ALL of your guesses, I'm afraid. Ever watch Rocky and Bullwinkle? Specifically Mr. Peabody (the time-travelling beagle) and his boy assistant Sherman? That line quoted above is the one that got spouted every show, as Peabody and Sherman prepared to board the Wayback Machine that would transport them back to the present. I'm REALLY surprised that one of you folks didn't catch that. I mean, I haven't seen that show for over 15 years. Why.....I oughta yank off one of those slacker ''stripes''....... Also, re: the lyrics to ''Run It'': The two streets mentioned are Lyndale (Avenue, a tough one to decipher) and yes, Garfield (Avenue -- good catch!) They run parallel to each other, a block or three apart. Utterly useless infobit: Eddie Garfield Avenue was the ''nom de plume'' used by Chris Mars during his recording stint as drummer/kazoo operator for the Minneapolis Seventies (song era) cover ''super group'' Golden Smog on their nifty '92 CD (on Crackpot). Lyndale Avenue, of course is the strip of potholed asphalt that separates the CC Tap (a frequent haunt of Minneapolis scensters, especially vintage Westerbergs and Pirner/Murphys) and Oarfolkjokeopus, the hallowed record store once managed by Peter Jesperson, who discovered the band and handled them until they gave him the boot ca. '85. The ''historic'' structures sit at 26th Street. If in town come by to do some record shopping, then trek kittycorner across the intersection for something to eat. I'd recommend anything with a tall Leinenkugel's tapper. Later folks, Ron ------------------------------------------------------------------------------- Date: 25 Mar 94 11:51:00 EST From: Mark Fisher Subject: All-Music Guide Hello fellow Skywayers: I wanted to let everyone know about a kinda-cool thing on the 'net called the ALL-MUSIC GUIDE. I don't know if it's new or has been around forever, but I just discovered it through the gopher server at the University of Wisconsin at Platteville. I'm sure there are other ways to connect to it (via ftp, etc.) Anyway, it's this huge database of people's reviews of albums. You can look up almost any group imaginable. They have this goofy rating system that I haven't quite figured out yet--but some of the narrative is interesting. Following is the listing for the mats. Please note that I personally didn't write this--Rick Clark and John Floyd did. I'm simply passing it along in case anyone's interested. If Rick and John are reading, thanks for giving your opinion. Also, I can't tell if this stuff is copyrighted or what--so if I shouldn't have done this--sorry. (BTW--Anyone know what Titanic Love Affair is?) --Fish All-Music Guide (C) 1994 by Matrix Software, Big Rapids, MI 49307 Please submit corrections or additional albums for this artist (also bios, sidemen, tracks, ratings, and reviews) at Internet Address: AMG@ALLMUSIC.FERRIS.EDU All-Music Guidelines in file: ALLMUSICHELP -------------------------------------------------------------------- Artist : The Replacements Genre : Rock Style : Rock & roll, Indie Instr. : Group Rating : importance (2) popularity (2) All-Music Guide Biography Minneapolis band the Replacements blasted onto the scene with a perfectly inspired blend of irreverence, sloppiness, and heart, the stuff from which great rock and roll is created from.,Paul Westerberg, the band's primary singer/songwriter, has produced an impressive body of work that ranges from moronically inspired rock to reflective numbers possessing heartbreaking vulnerability. On their initial releases (SORRY MA, FORGOT TO TAKE OUT THE TRASH, STINK, and HOOTENANNY), the band puked out frantic song-bites (many less than two minutes long) with clown punk titles like "I Hate Music," "Shiftless When Idle," "White and Lazy," "F*** School," and "God Damn Job.",LET IT BE, their fourth release, reflected a new maturity, while not sacrificing their spirit of reckless fun. The next two efforts, TIM and PLEASED TO MEET ME (produced by Jim Dickinson), maintained the magic.,Since then, the Replacements have had some lineup changes and softened their ragged-but-right sound with DON'T TELL A SOUL (which produced a #1 college-rock hit in "I'll Be You") and the more acoustic-oriented follow-up ALL SHOOK DOWN. ~ Rick Clark Minneapolis band the Replacements blasted onto the scene with a perfectly inspired blend of irreverence, sloppiness, and heart, the stuff from which great rock & roll is created.,Paul Westerberg, the band's primary singer/songwriter, has produced an impressive body of work that ranges from moronically inspired rock to reflective numbers possessing heartbreaking vulnerability. No other band from the post-punk age has worn such an interesting and complex heart on their torn-up sleeve or used an imperfect voice to such great advantage. On their initial releases (SORRY MA, FORGOT TO TAKE OUT THE TRASH, STINK, and HOOTENANNY), the band puked out frantic song-bites (many less than two minutes long) with clown punk titles like "I Hate Music," "Shiftless When Idle," "White and Lazy," "F*** School," and "God Damn Job.",LET IT BE, their fourth release, reflected a new maturity while not sacrificing their spirit of reckless fun. The next two efforts, TIM and PLEASED TO MEET ME (produced by Jim Dickinson), maintained the magic.,Since then, the Replacements have had some lineup changes and softened their ragged-but-right sound with DON'T TELL A SOUL (which produced a #1 college-rock hit in "I'll Be You") and the more acoustic-oriented followup ALL SHOOK DOWN.,They were called "the last great band of the 80s" by MUSICIAN. You'd better believe it. ~ Rick Clark & John Floyd, Reckless Minneapolis quartet got their start emulating hardcore punk, but by 1984 vocalist/songwriter Paul Westerberg became one of the decade's brightest new songwriters. His sense of humor is always self-deprecating, and no one from the post-punk age has worn such an interesting and complex heart on their torn-up sleeve or used an imperfect voice to such great advantage. The band's proud stance as rock underdogs, combined with Westerberg's reluctance to play the music business game, has resulted in songs that examine rock stardom and its consequences, in addition to his usual romantic turmoil. Musically, they're adept enough to lay down everything from ragged Stones grunge to Big Star-like pop to country weepers. They were called "the last great band of the 80s" by MUSICIAN. You'd better believe it. ~ John Floyd, ---------- Related Artists ----------- Titantic Love Affair Mars, Chris Westerberg, Paul Singles soundtrack ---------- Roots & Influences ---------- Rolling Stones New York Dolls Sex Pistols Dylan, Bob Big Star Chilton, Alex Lennon, John AMG Artist ID # : P000005255 Chronological Album List |Date| Label | Number |R S T|Rating --------------------------------+----+----------+--------+-----+------ All Shook Down |1990|Sire |26298 |R | BestA Don't Tell a Soul |1989|Sire |25831 |R | BestA Date to Church |1989|Sire/Repri|22992 | | Good Pleased to Meet Me |1987|Sire |25557 |R S |+BestG Tim |1985|Sire |25330 |R | BestG Shit Hits the Fans, The |1985|Twintone | | | Poor Let It Be |1984|Chameleon |74805 |R S | BestG I Will Dare |1984|Twintone |8440 | | Hootenanny |1983|Chameleon |74804 |R S | BestA Replacements Stink, The |1982|Twintone |8228 | S | Good Sorry Ma, Forgot to Take out th|1981|Twintone |8123 |R S | Good All-Music Guide Album Details (Alphabetical Order) ----------------------- All-Music Guide Album ------------------------ Album : All Shook Down Artist : The Replacements Rating : Best-of-Artist Charts : Billboard #069, entered Oct 13, 1990, on charts 014 weeks Genre : Rock Time : 40:55 min Date : 1990 (release) AMG ID : R000016476 (album inprint) --------- Album Releases --------- 1990 CD Sire 2-26298 1990 CS Sire 4-26298 ------- AMG Album Reviews ------- More a Westerberg solo album than a band effort, this is a delicate, acoustic-based set, which finds him finally facing the perils of adulthood. But don't worry, he hasn't become a Jackson Browne-ian simp. ~ John Floyd ----------------------- All-Music Guide Album ------------------------ Album : Date to Church Artist : The Replacements Rating : Good Genre : Rock Date : 1989 (release) AMG ID : R000016474 --------- Album Releases --------- CS Sire/Reprise 4-22992 ----------------------- All-Music Guide Album ------------------------ Album : Don't Tell a Soul Artist : The Replacements Rating : Best-of-Artist Charts : Billboard #057, entered Feb 18, 1989, on charts 019 weeks Rock & Roll Disc #5/3.5 Genre : Rock Date : 1989 (release) AMG ID : R000016475 (album inprint) --------- Album Releases --------- CD Sire 2-25831 CS Sire 4-25831 ------- AMG Album Reviews ------- It's easily their most ambitious, focused, and accessible work. Their twin-guitar attack hasn't been tamed so much as refined and [it] marks the first time the band has actually crafted a set of songs instead of cutting a bunch of songs live and later adding overdubs. Layers of acoustic and electric guitars mingle with piano and mandolin fills, achieving a sound that both elaborates on the spare nature of 1987's PLEASED TO MEET ME and breaks new ground. ~ John Floyd, Rock & Roll Disc. The full-blown production made some cry sell out, but DON'T TELL A SOUL contained a heightened level of melodicism that produced some wonderful moments, particularly the expansive "Darlin' One," "Talent Show," "Achin' To Be," and their first #1 AOR hit, "I'll Be You." With that song, Westerberg practically achieved the magic he so much admired on Big Star's records. If DON'T TELL A SOUL hadn't been a Replacements album, its appealingly sloppy melodic power-pop would have, more than likely, earned rave reviews. This contains their most desolate work, highlighted by "I'll Be You" (their first #1 AOR hit), "Talent Show," the expansive psychedelia of "Darlin' One," and the creepy "Rock & Roll Ghost." ~ John Floyd ----------------------- All-Music Guide Album ------------------------ Album : Hootenanny Artist : The Replacements Rating : Best-of-Artist Genre : Rock Date : 1983 (release) AMG ID : R000016470 (album inprint) --------- Album Releases --------- CD Chameleon D2-74804 LP Twintone TTR-8332 CD Twintone 8332 CD Chameleon Entertainment D2-74804 ------- AMG Album Reviews ------- A hodgepodge of hard rock, country, punk -- everything. It's patchy, but "Color Me Impressed," "Willpower," and "Within Your Reach" are among their best. ~ John Floyd ------- Album Personnel/Sidemen ------- Chris Mars - Drums Bob Stinson - Guitar Tommy Stinson - Bass Paul Westerberg - Guitar, Vocal ----------------------- All-Music Guide Album ------------------------ Album : I Will Dare Artist : The Replacements Rating : not rated yet Genre : Rock Date : 1984 (release) AMG ID : R000016467 --------- Album Releases --------- Twintone 8440 ----------------------- All-Music Guide Album ------------------------ Album : Let It Be Artist : The Replacements Rating : Best-of-Genre Genre : Rock Date : 1984 (release) AMG ID : R000016471 (album inprint) --------- Album Releases --------- CD Chameleon D2-74805 CD Twintone TTRCD-8441 CS Twintone TTR-8441C LP Twintone TTR-8441 CD Twintone 8441 CD Chameleon Entertainment D2-74805 ------- AMG Album Reviews ------- This is where they realized their potential and consolidated their diversity into a masterpiece that screams, cries, comforts, and antagonizes. Highlights include "Unsatisfied," one of Westerberg's finest songs and vocal performances, as well as the reckless swinging "I Will Dare," and the playful "Androgynous." ~ John Floyd ------- Album Personnel/Sidemen ------- Chris Mars - Drums Bob Stinson - Guitar Tommy Stinson - Bass Paul Westerberg - Guitar, Vocal ----------------------- All-Music Guide Album ------------------------ Album : Pleased to Meet Me Artist : The Replacements Rating : Best-of-Genre (First Pick) Charts : Billboard #131, entered May 30, 1987, on charts 019 weeks Genre : Rock Time : 32:59 min Date : 1987 (release) AMG ID : R000016473 (album inprint) --------- Album Releases --------- 1986 CD Sire 2-25557 1986 CS Sire 4-25557 ------- AMG Album Reviews ------- Pared down to a trio, the band offers a complex set of ballads and guitar blazers and continues its examination of the effects of rock stardom. Producer Jim Dickinson (Ry Cooder, Big Star) gives the group a piledriver sound, like a boombox with the loudness up to ten. "Alex Chilton," a hard-rocking ode to Big Star's founder; "Can't Hardly Wait," with its great Memphis groove and Box Tops-style horn and string parts; and the haunting "Skyway" are among this album's highlights. ~ John Floyd ------- Album Personnel/Sidemen ------- Alex Chilton - Guitar, Vocal Chris Mars - Drums Tommy Stinson - Bass Paul Westerberg - Guitar, Vocal ----------------------- All-Music Guide Album ------------------------ Album : Replacements Stink, The Artist : The Replacements Rating : Good Genre : Rock Date : 1982 (release) AMG ID : R000016469 (album inprint) --------- Album Releases --------- CD Twintone 8228 LP Twintone TTR-8228 ------- Album Personnel/Sidemen ------- Chris Mars - Drums Bob Stinson - Guitar Tommy Stinson - Bass Paul Westerberg - Guitar, Vocal ----------------------- All-Music Guide Album ------------------------ Album : Shit Hits the Fans, The Artist : Replacements Rating : Poor Genre : Rock Date : 1985 (approx.) AMG ID : R000173857 --------- Album Releases --------- 1985 Twintone ----------------------- All-Music Guide Album ------------------------ Album : Sorry Ma, Forgot to Take out the Trash Artist : Replacements Rating : Good Genre : Rock Date : 1981 (release) AMG ID : R000047810 (album inprint) --------- Album Releases --------- CD Twintone 8123 LP Twintone TTR-8123 Twintone 8123 Twintone 8123 1981 LP Twintone 8123 ------- AMG Album Reviews ------- SORRY MA, FORGOT TO TAKE OUT THE TRASH is a thrashy, Ramones-like debut. "Johnny's Gonna Die," "I'm in Trouble," and "Takin' a Ride" hint at things to come. ~ John Floyd ------- Album Personnel/Sidemen ------- Chris Mars - Drums Bob Stinson - Guitar Tommy Stinson - Bass Paul Westerberg - Guitar, Vocal ----------------------- All-Music Guide Album ------------------------ Album : Tim Artist : The Replacements Rating : Best-of-Genre Charts : Billboard #183, entered Feb 1 , 1986, on charts 007 weeks Genre : Rock Time : 36:29 min Date : 1985 (release) AMG ID : R000016472 (album inprint) --------- Album Releases --------- 1985 CD Sire 2-25330 1985 CS Sire 4-25330 ------- AMG Album Reviews ------- Their major-label debut isn't a great leap forward but their raggedness is retained, and Westerberg contributes anthems of rebellion and insecurity, like "Bastards of Young" and "Hold My Life." Also included is a hard-rockin' nod to alternative radio (with Alex Chilton), "Left of the Dial." ~ John Floyd <1994 1 24> Thank you for using All-Music Guide. ------------------------------------------------------------------------------- Date: Thu, 07 Apr 94 14:02:11 EDT From: swcoupe@aol.com Subject: Mats Sit It Out (and a plea) Folks, I came across another stack of mid-80s music mags in the basement archives and spied a couple interesting tidbits inside. I'll be posting 'em here 'cause, well, who else but you folks would give a shit. >From ''MATTER'', Jan./Feb. 1985 (Bits and Pieces department) <<...Also out any day now -- a live Replacements tape. "The Shit Hits The Fans," recorded on cassette last October in Oklahoma City by a bootlegger, then snatched away from... While playing a show in Ohio this fall, the Mats couldn't figure out why the audience members stayed glued to their seats. Finally, a perplexed Paul Westerberg asked what was going on, and a disgruntled fan explained that the management wouldn't let them stand. Westerberg and Co. left the stage, only to return with chairs, and played the whole rest of the show sitting...>> Hey, back to me -- I only belatedly got around to getting on this list, and I need back issues to know what's been covered! Gopher? Check with my network administrator? I'm sitting at home with a wheezing Mac Classic I ''borrowed'' from work for chrissakes! Until AOL gets fully tuned in to the Net it's ''no go.'' Till that time, if anyone has //Skyway\\ issues #1-9 that they'd put on a floppy and snail mail to me I'll trade you one of my Mats/Westerberg/Soul Asylum/Golden Smog/Huskers boots -- your pick -- even up. Do I have a taker? Thanks, Ron (still waiting for Spring to come to Minneapolis) ------------------------------------------------------------------------------- Date: Fri, 4 Mar 94 09:30:13 CST From: cford@vnet.IBM.COM Thought I'd make my first contribution to the Skyway.. What follows is the complete 1991 Mats tour itinerary. I believe it to be 100% accurate. (if not let me know). I compiled it back in '91 by diligently calling the Warner Brothers office every few weeks. I find it useful in collecting audience tapes, and I wish I had a similar list for every tour. I have not shared this with too many traders... so here it is.. My apologies if this has appeared previously... Charles F. Replacements 1991 Tour Schedule 1/15/91 DAVIS, CA 1/16/91 SAN FRANCISCO 1/18/91 LA - PALLADIUM 1/19/91 REDLANDS - GREEK THEATRE 1/20/91 SAN DIEGO - UCSD 1/21/91 PHOENIX (MLK DAY) 1/24/91 DALLAS - METROPLEX ARENA 1/25/91 HOUSTON - TOWER THEATRE 1/26/91 AUSTIN - TEXAS UNION BALLROOM 1/28/91 NEW ORLEANS 1/29/91 TUSCALUSA, ALABAMA 1/31/91 ST. LOUIS, MO 2/01/91 CHICAGO, IL 2/02/91 CHICAGO, IL 2/03/91 MILWAUKEE, WI 2/05/91 IOWA CITY, IOWA 2/06/91 MINNEAPOLIS, MN 2/07/91 MINNEAPOLIS, MN 2/08/91 GREENBAY, WI 2/09/91 CHAMPAIGN, IL 2/10/91 COLUMBUS, OH 2/12/91 CINCINNANTI, OH 2/14/91 ANN ARBOR, MI 2/15/91 KALIMAZOO, MI 2/16/91 CLEVELAND, OH 2/17/91 TORONTO, CANADA 2/18/91 OTTOWA, CANADA 2/20/91 MONTREAL, CANADA 2/21/91 SPRINGFIELD, MA 2/22/91 BOSTON, MA (ORPHEUM) 2/23/91 BOSTON, MA (ORPHEUM) 2/24/91 ALBANY, NY 2/26/91 NEW HAVEN, CT (TOADS PLACE) 2/27/91 NORFOLK, VA 2/28/91 BALTIMORE, MD 3/01/91 PITTSBURG, PA 3/02/91 PHILADELPHIA, PA - TOWER THEATER 3/04/91 WASHINGTON DC 3/05/91 WASHINGTON DC 3/07/91 NYC (BEACON) 3/08/91 NYC (RITZ) 3/09/91 NEW BRUNSWICK, NJ (RUTGERS COLLEGE GYM) * EUROPE * 3/21/91 AMSTERDAM, NETHERLANDS 3/22/91 AMSTERDAM, NETHERLANDS 3/23/91 UTRECHT, NETHERLANDS 3/24/91 GRONINGEN, NETHERLANDS 3/25/91 GOTHENBURG, SWEDEN 3/26/91 GOTHENBURG, SWEDEN 3/27/91 STOCKHOLM, SWEDEN 3/28/91 LUND, SWEDEN 3/29/91 COPENHAGEN, DENMARK 3/31/91 HAMBURG, GERMANY 4/01/91 BERLIN, GERMANY 4/02/91 BERLIN, GERMANY 4/03/91 COLOGNE, GERMANY 4/04/91 FRANKFURT, GERMANY 4/05/91 MUNICH, GERMANY 4/06/91 ZURICH, SWITZERLAND 4/07/91 ZURICH, SWITZERLAND 4/08/91 PARIS, FRANCE 4/09/91 GENT, BELGIUM 4/10/91 ROTTERDAM, NETHERLANDS 4/11/91 ROTTERDAM, NETHERLANDS 4/12/91 DEN BOSCH, NETHERLANDS 4/13/91 LONDON, ENGLAND 4/14/91 LONDON, ENGLAND 4/15/91 LONDON, ENGLAND 4/16/91 LONDON, ENGLAND 4/17/91 MANCHESTER, ENGLAND 4/19/91 GLASGOW 4/20/91 DUBLIN, IRELAND * HOME * 5/13/91 NASHVILLE, TN 5/14/91 KNOXVILLE, TN 5/15/91 RALEIGH, NC 5/17/91 ATLANTA, GA (GA TECH) 5/18/91 ATHENS, GA (GA THEATRE) 5/19/91 CHARLESTON, SC 5/21/91 ATLANTA, GA (CENTER STAGE) 5/22/91 ATLANTA, GA (CENTER STAGE) 5/24/91 SUNRISE, FL 5/25/91 ORLANDO, FL (VISAGE) 5/26/91 TAMPA, FL (RITZ) 5/27/91 SAVANNAH, GA 5/29/91 PELHAM, ALABAMA 5/31/91 MEMPHIS, TN 6/01/91 LOUISVILLE, KY 6/03/91 OMAHA, NEBRASKA - PEONY PARK 6/04/91 LAWRENCE, KANSAS - LIBERTY HALL 6/06/91 COLUMBIA, MO - BLUE NOTE 6/07/91 DAVENPORT, IOWA - COLONIAL BALLROOM 6/12/91 CLEVELAND, OH - FIRST NIGHT WITH ELVIS COSTELLO 6/13/91 MAPLE, ONTARIO 6/15/91 PHILADELPHIA, PA - MANN THEATRE 6/16/91 COLUMBIA, MD 6/18/91 NASHUA, NEW HAMPSHIRE - HOLEMAN STADIUM 6/19/91 BRISTOL, CT 6/21/91 MANSFIELD, MA 6/22/91 NYC - MADISON SQUARE GARDEN E.O.E. (END OF ELVIS) 6/24/91 SALT LAKE CITY, UTAH - KINGSBURY HALL 6/26/91 SEATTLE, WA - PARAMOUNT THEATRE (SOLD OUT!) 6/27/91 PORTLAND, OR - FOX THEATRE 6/28/91 VANCOUVER, BRITISH COLUMBIA - 86TH ST. MUSIC HALL 6/29/91 VANCOUVER, BRITISH COLUMBIA 7/01/91 MILWAUKEE, WI - SUMMER FEST 7/02/91 DETROIT, MI - Clubland 7/04/91 CHICAGO, IL - MUSIC FESTIVAL (LAST SONG, 'HOOTENANY') ------------------------------------------------------------------------------- Date: Wed, 23 Mar 1994 15:49:31 -0800 (PST) From: Ric Dube Subject: lucky's revenge (fwd) CD bootleg My source says it sounds pretty good too. Here is the song list (pretty standard solo set): waiting for somebody Mannequin shop Achin' to be first glimmer waitress/sky world class fad dice behind your shades few minutes of silence merry go round soemone I once knew Knockin' on me swigin' party skyway things something in me Daydream believer can't hardly wait runaway wind i'll be you These are the titles as listed on the cd. Keep in mind that there may be others that the bootlegger didn't know and simply omitted from the list. Can't wait to get my copy! ______________________ Ric Dube dube@u.washington.edu ------------------------------------------------------------------------------- Date: Fri, 25 Mar 94 15:56:46 CST From: cford@vnet.IBM.COM This article appeared in Taper's Quarterly magazine.. But since I am the author... Collecting The Replacement III Outtakes and Rarities Charles Ford This paper is the third in a series devoted to the topic of Replacements collecting. The first article was a brief introduction to the subject, the second focused on Replacements live video, and this, the final article, concentrates on what I believe to be a very rewarding aspect of collecting any band's material--their unreleased studio outtakes and other works which never saw an official record release. Generally, the unreleased studio outtakes are of great value in the eyes of the collector for these are usually of good sound quality and are representative of work the band at least seriously considered for public release. It is also possible that the studio outtakes could appear on some future band anthology such as a CD boxed set. However, I will, from time to time, consider material that was written by the band and performed live, but never actually recorded to my knowledge. (Of course, just because I have never heard a recorded version of a particular live song does not mean that a recorded version does not exist somewhere.) Finally, the extent to which these cuts might be considered "rare" also adds to their collectability, just like any item. Obviously, you cannot just go out and purchase these recordings off the shelf. Some enterprising individual generally must make an unauthorized dub from a master copy and distribute it through trading circles. In the past, the low generation, high quality dubs would have been considered to have the greatest value, but with the advent of the DAT unit this distinction is blurred somewhat as "all dubs can be created equal." Once again, the source of much of my information comes from my own personal collection. However, for additional verification and insight into much of the unreleased Replacements material I have relied on the often published words of one time Replacements manager and current Twin Tone Records representative, Peter Jesperson. Jesperson has boasted to the press that he owns hundreds of hours of unreleased Replacements material. He frequently cites specific titles as songs he would like to see released. This type of information has been very valuable in identifying songs in my collection. Through Jesperson's efforts we may one day see that Replacements boxed CD set. The availability of Replacements studio outtakes follows an interesting timeline. In my video article I observed that unauthorized video output on the band grew with their career--with very little available early on but increasing with each tour. With studio outtakes almost the opposite effect can be seen. There appears to be a great deal of studio material available (demos, outtakes) from the early years with a mushrooming occurring in 1987 with the 'Pleased to Meet Me' sessions. Beyond 1987 I have seen almost nothing of these items. The obvious implication is that the band (i.e. Paul Westerberg) became aware of this "leaking" of their tapes and exercised greater control in the later years. I am certain there are hundreds of hours of studio outtakes somewhere that even Peter Jesperson is not aware of. (In fact, I highly suspect that Jesperson is the source of much of this "leaked" material.) He was, after all, abruptly fired by the band in 1986. For the post-1987 material to see the light of day I suspect that Westerberg himself will have to be involved. The Replacements first album was titled 'Sorry Ma, I Forgot to Take Out the Trash,' and it was an impressive collection of typically short, fast songs. The original Blackberry Way studio demos for this album are available in trading circles as is an early, unreleased mix of the album. Ultimately, everything contained in these tapes found its way to the final product. Peter Jesperson tells us of at least three songs from this era that were recorded and never released. "Shape Up" and "Don't Turn Me Down" are reportedly songs from the Replacements very first demo tape--the tape which Westerberg slipped to Jesperson on that fateful day in 1980 with hopes of landing a gig at the Longhorn Bar. I cannot say that I have ever heard "Shape Up" performed live, but "Don't Turn Me Down" appears on several popular Replacements audience tapes. This song is an obvious tribute to loudness written in sort of a Ted Nugent rock style. Jesperson also mentions a song recorded in this era called "Junior's Got a Gun." (Aerosmith, were you listening?) Although, I've never heard the studio version, a decent live version appears on the popular "Zoogie's/1981" tape recorded in Minneapolis. "Junior could use a little action...And he's taking it all very seriously.." is a principal lyric. The "Zoogie's" tape provides us with a vast array of other disposable Replacements songs from the beginning era. Such numbers as "Off Your Pants" ("yea, yea, yea, yea, take off your pants!"), "Like You", and "Skip It" are scattered about. There appears a humorous funk tune called "Mistake" ("Just the other day I was hesitating--I was masturbating in the door. I made a mistake"). There is also an anti-drug song (I guess) presumably called "Drugs." ("Thinking of you, and the drugs that you do.") Additionally, this tape contains an ode to solitude called "All By Myself" and a confusing song with indecipherable lyrics called (possibly) "Get Lost." The next releases from the Replacements included the not particularly well acclaimed "Stink" EP, followed up closely with the vastly different "Hootenanny" album. Outtakes from this era might have gone on largely unheard by the general public were it not for the efforts of our pal Peter Jesperson. Jesperson showcased three interesting tracks around this time on KFAI radio in Minneapolis, a broadcast which was preserved on tape by diligent fans. The first of these tracks is a live rendition of "Goddamn Job," originally a punk anthem, performed in a delightful Country/Western style. The next song is a "Hootennany" outtake called "You're Getting Married." This song is a nice ballad in which Paul paints a bleak picture of an upcoming marriage--"You're like a guitar in the hands of a man who just can't play/You're like an inmate counting the days." The final song from this presentation is an admittedly unfinished number called, "Shoot Me, Kill Me", an urgent rocker which basically says little more than "Shoot me, kill me, love me...cock it, shoot it, spin it all around." Jesperson states that he lobbied hard to have this song included on the album for it's potential, but the band never perfected it. In conjunction with the "Hootenanny" album, the Replacements released a single called "Lookin For You." This song is nothing more than "Lovelines" with a more traditional vocal track and lyrics--"Lookin for ya baby, let's get along. Got no place, got no song." It may be that this single appeared only as a fanzine pressing. At any rate, I have never seen it, and it could be somewhat valuable. With the "Let It Be" album another round of demos was leaked to the devoted fans. My copy contains five unreleased recordings. First, an interesting version of "Sixteen Blue" appears. This recording is similar to the album version except that it contains a dominate piano track which buries the soaring guitars heard on the official release. Next is a rather unremarkable rocker called "Who's Gonna Take Us Alive." It seems to follow another one of those "Replacements against the world" themes. A faithful cover of the old hit "Temptation Eyes" appears on the demo, but the band probably hesitated to include a second cover tune on the album, having already committed to the popular Kiss tune, "Black Diamond." One of Jesperson's favorite songs, "Street Girl," appears as well. ("You won't find her in the country... she ain't no fool, she's a street girl.") Finally, the demo contains a version of "Seen Your Video" with different lyrics, but it is unclear what the title of this version might be. In late 1985 the Replacements made their major label debut with the Sire release, "Tim." Originally Alex Chilton was slated to produce the record and some demos were even produced, but at the last minute Chilton was mysteriously dropped and replaced by ex-Ramone, Tommy Erdelyi, a Sire crony who may have had more clout than Chilton. It is the Chilton demos which provide us a glimpse at some "Tim" outtakes. I have acquired two companion tapes, from different sources, which have the claim as being from the Chilton demos, but I believe only one of them to be authentic. Peter Jesperson has confirmed that Chilton was actually only involved with the production of three songs, "Nowhere Is My Home," "Can't Hardly Wait," and "Left of the Dial." "Nowhere is My Home" starts the tape off. This song was documented as Chilton's work and appears on a British import called "Boink." "Nowhere" is a great rocker which would have fit well on the "Tim" album. Next up are the infamous "Can't Hardly Wait" tracks. Much has been written about the history of this song. The Replacements had wanted to release it long before it showed up on "Pleased to Meet Me," but somehow they were never pleased with the results. Chilton produced two versions, a mid tempo, drunken sounding track, and a slow, acoustic version. Both versions contain lyrics which are different than the modified released version. The original seems to be about suicide--climbing to the top of a "crummy water tower" and presumably jumping off. "I'll be safe in Heaven, You won't visit me there." Another sample lyric, "I'll be there in an hour, if there's a hole in the gate," seems to suggest "the pearly gates" of Heaven. This song was reworked for "Pleased to Meet Me" to make it more user friendly. Rather than "hardly waiting" for death, Paul could now "hardly wait" to be home to his girl friend--a change which Jesperson considers a dilution of the song. But, Westerberg may have justified the change because by 1987 he had another suicide song with a more interesting point of view called "The Ledge." The last song from the Chilton tape is "Left of the Dial." This production sounds remarkably like the "Tim" version. In fact, Jesperson has stated that the Chilton production of this song was in fact used on the final album. I received another mysterious tape labeled "Chilton demo," however, I question its validity as Chilton's work. At any rate, it is a studio production. The tape contains an interesting version of "Kiss Me On The Bus" performed as an all out rocker. It also contains a rendition of "Little Mascara" which is almost exactly like the "Tim" version except for some additional background vocals at the end. After "Tim" was released but prior to Bob's departure, the Replacements went back into the studio to cut some demos for what was to be their next album. Bob has confirmed in the media that "Pleased to Meet Me" tracks exist with his guitar playing on them. I have heard the tape which seems to bear this out. This tape contains early versions of "Valentine" and "Red Red Wine" in which Bob's distinctive noodling is clearly present. In my opinion the "Red Red Wine" track is actually superior to the released version in that it captures the spirit of the song better. It's a slightly slower, more rock steady version with an intoxicated, playful feel to it--exactly what is needed to make this song work. On this same tape are some unreleased outtakes. "Bundle Up" appears and certainly seems to be a one shot sort of song. It is obviously a reworking of "Jungle Rock" ("The Gator and the Hippo were sharing a scarf."), but it is changed into a twisted Christmas song. "Put An Ad In The Paper (Empty is Your Heart)" is a meandering rock song about love in the want ads that owes homage to "Lovelines", only not as much fun. A song called "Birthday Carol" shows up. This song is a nice up tempo ballad about growing older--"Did you wish there weren't as many candles that you have to blow?" The final song from this session (to my knowledge) is a frantic rocker called "Time is Killing Us" with sample lyrics, "Time is killing us, not the other way." After ejecting Bob from the band, the Replacements regrouped to record "Pleased to Meet Me" in earnest. There is a great wealth of available studio output that is attributed to these sessions. The first tape that I received from these contains seven rough cuts, three of which did not make the final album. The first track is a very nice version of "Nevermind" without words other than the initial intro. It highlights the glorious chord progression of the song and could have been used as is, in my opinion. "Birthday Carol" was again reprised, this time with a little more punch, and a slightly different lead break. A rough sounding "Alex Chilton" and "Red Red Wine" are represented. "Election Day" is a slow groove that was eventually released on a limited edition German Sire import called "The Ledge." "Kick It In" is a catchy pop song about television in our society--"Plug it in, turn it on, get up, kick it in, kick it in." The tape ends after a wordless version of "Valentine." I have heard another rough studio tape containing all of the songs from the final album including "Can't Hardly Wait" with organ accompaniment in place of the strings and horns heard on "Please to Meet Me." This tape is distinguished in that it also contains cover versions of "Jungle Rock," which was also released on the German import, and "Cool Water," which was released as a 'B' side, with Chris Mars singing the lead. One other interesting outtake that appears on this tape is a beautiful ballad called "Learn How to Fail." It contains the following advice to a child, "First you must learn how to fail, before you're allowed anything real." They should have kept this one. Recently I came across yet another tape which is reported to be from the "Pleased to Meet Me" sessions. This tape contains six obscure outtakes which I had never heard on any other source. "Run For The Country" is an acoustic based ballad about emotional escape where Paul offers, "Have you decided where you belong? You're still invited to leave them all behind." This song is followed up with a whimsical rocker called "Beer For Breakfast" where Paul celebrates irresponsibility--"All I wanna do is drink beer for breakfast... Hallelujah I'm a bum." He continues in this humorous fashion with another rocker called "Nude." ("Me and you, we ain't through, do it nude.") An essential cover tune is also on this tape. The band slops through a piano and sax based jam on "Think I'm Going Out Of My Head." Finally, we are treated to two of Tommy's outtakes. One of them is a Faces-style romp called "If There's Trouble On the Way" followed by a sentimental number called "I Tried to Make This Your Home." ("I let you wear my robe--you didn't like the smell.") Both of these songs would have worked well on the debut Bash & Pop album. After the prolific "Pleased To Meet Me" sessions, the supply of Replacements outtakes seems to have dried up. The band went on to record two more albums, but the unreleased material from them (I am assuming that there are always outtakes) remains under tight control. Of course, I am only basing this conclusion on the fact that I, personally, am not aware of any of this material. This stuff could pop up in trading circles at any time. It is quite possible that what you have read is not the complete story. There may be other outtakes which have yet to surface or that I have not been privy to. I am still waiting for the "Don't Tell A Soul" and "All Shook Down" material to appear. I only hope that what I have presented so far has been accurate since throughout the article I was forced to make a few assumptions. Readers, keep me honest (and informed)! ------------------------------------------------------------------------------- Date: Thu, 07 Apr 1994 15:20:28 -0400 From: timmins@polysci.umass.edu Subject: Compilation tape -- final notice, etc. [This is a letter from Mark Timmins to anybody out there who is in a band and on the //Skyway\\...I've already send my trashy tape in! -- M@] --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- Dear Fellow //Skyway\\ Reader: Thank you for expressing an interest in contributing to the //Skyway\\ bands' compilation tape, featuring songs performed by our readers. The compilation is tentatively slated to be titled _Talent Show_, but if you have a brighter idea for a title (such as _I Hate Music_) let me know. I thought _Talent Show_ was a good title because it's Replacements-related, and because it has that "amateur hour" feel to it. On the other hand, _Too Many Notes_ might not be a bad title.... Let me know your opinion. Naturally, the number of songs by each act which wind up on the tape will be determined by the number of acts which actually submit tapes. I suggest sending me a minimum of two songs, but if you want to send more (because you have tapes already made up, or whatever) that's fine, but tell me which song(s) you desperately want on this compilation. Otherwise, I'll decide. However, if you have only one song, then by all means send it in! DEADLINE -------- As an incentive here, I am going to put a May 15 deadline on submissions. The word has been out on this for quite a while, and we want to actually do this sometime this year. A number of people have said they were in- terested, but as of 4/7/94 I haven't received any tapes. If you will be in a different place after May (e.g., home vs. school) let me know, so I will be able to know where to send the final product. As an additional incentive to get as many people involved as possible -- I am welcoming any type of song: originals, covers, spoken word stuuf, full- fledged band numbers, solo acoustic stuff, a capella, whatever. DO NOT BE SHY. Do not think your song is not good enough. Besides, isn't half of being a Replacements fans enjoying heartfelt but sloppy music?!? (End of pep talk). Everyone who submits original material will be sent a copy of the final product -- free of charge. That is, since you will have forked up the postage to mail me your stuff, I'll reciprocate. However, to prevent me from having to buy tons of blank tapes, please submit a blank C90 along with the tape containing your original songs (or a check for $2.50 to cover the cost of a tape). After the May 15 deadline, I will post a note to the //Skyway\\ listing all the bands who submitted their material. At that point, other readers who didn't submit songs but who still want a copy of the compilation can reserve one by sending me either a check for $4 (to cover postage + tape) or a blank tape and $1.50. Don't forget to send me your address! On a legal note here -- if you're worried about copyright issues, then copy- right your song yourself. I may copyright the compilation, especially if the distribution is going to be wide, but as I understand it, that won't neces- sarily protect the individual songs. Hoping to hear from as many of you as possible, Mark Timmins timmins@polysci.umass.edu ------------------------------------------------------------------------------- Date: Fri, 04 Mar 94 01:25:16 EST From: seaduck5@aol.com Subject: Knockin on mine Got my first SKYWAY today. Great! I've given up trying to pin down PW's words---hey, the ambiguity's half the fun---but here's what I hear in the first cut of 14 Songs. KNOCKIN ON MINE Aw right--- Read comma now stockpile your brain You get burned in the sun You get wet in the rain They teach you to fix Needs to be broke I say he who laughs first Didn't get the joke Wanna tap your mind Quit knockin' on mine An English teacher from Vancouver She asked me to write somethin' for her students. I wrote knowledge adds wisdom let slide She says now really? I wanna tap your mind/you're mine Quit knockin' on mine I walked away Knockin' on mine Knowledge is power, got yer books, go read 'em Wisdom is ignorance, stupidity I call freedom. Oh/go knockin' on mine Get out/down Comic books, the Bible, roadmaps, pornography Anything you wanna read Go out and sit in a field sometime Quit knockin' on mine (knockin' on mine) Quit knockin' on mine (knockin' on mine) ... power got your books go read 'em Wisdom is ignorance, stupidity---ha!--I call it freedom Quit knockin' on mine (knockin' on mine) You read common knowledge every day. You're as common as that newspaper you throw away You get burned in the sun you get wet in the rain Won't you ever change? Won't you ever learn? Oh, quit knockin' on mine (knockin' on mine) Yes sir! Oh, quit knockin' on mine (knockin' on mine) Quit knockin' on mine (knockin' on mine) Knock knock, knockin' on mine Knockin' on mine (knockin' on mine) Knock knock, knockin' on mine Quit knocking on mine (knockin' on mine) Knock knock knockin' on mine Knock knock knockin' on mine Does this make anybody else wonder if Paul's been reading Nietzsche??? Anybody else intrigued by his growing catalog of reading/writing songs? Write you a letter tomorrow... Duck ------------------------------------------------------------------------------- fin. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- || Matthew Tomich || <<>> || || 1111 S. Mullanix #258 || ----> skyway@phoenix.creighton.edu <---- || || Kirksville, Missouri 63501 ||(administrative, contribution, all purpose)|| || (816)-785-5220 ||--==--==--==--==--==-*-==--==--==--==--==--|| || "You are not what you own." || ** Non-Skyway address: ** || || /\\/\\/\ - Fugazi /\\/\\/\\ || i261%nemomus@academic.nemostate.edu || --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- "Every great band should be shot before they make their 'Combat Rock'." -- Too Much Joy