---===---===---===---===---===---===---===---===---===---===---===---===---===-- 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 \kyway \\ / Winter 1994 -- Issue #23 December 3rd, 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. --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- WHO'S GONNA TAKE US ALIVE?!! Excuses, apologies, and a Christmas gift exchange dealie (kinda) OUT OF PLACE 'MATS! You too can own all this rare stuff that everybody keeps talkin' about but nobody seems to have, thanks to Mark Timmins "MY NAME IS ... " All these new people make their first ever posts. Eldon Potter, John Anderson, Michael Niehoff, John Loughney, Mark Mauer, Chris Wagner, Jason Kreitzer, Tracy Trudell. CHRIS MARS UPDATE from Jim Gould SHIT, SHOWER, AND SHAVE: the new 'Mats bootleg out on CD as reported by Dean Roe GRAVEL PIT: the new Westerberg bootleg out on CD as reported by Mark Timmins, Charles Ford, Robert Wilberg, Matt Tomich NEW WESTERBERG/BASH N' POP SONGS w/Ric Dube, Mark Fisher FORTHCOMING CD OF LAST REPLACEMENTS SHOW ("Goodbye Bozos"?!!) - Ken Zipeto CHORDS TO "MAKING ME SICK" (the new Bash n' Pop song) - Derek Caney HEY, I SHOULD START THE BASH N' POP FAN CLUB! - Mark Timmins "TALENT SHOW": //Skyway\\ people doing their fav. 'Mats tunes - Ted James (and a defense of instrumental music) WE'LL INHERIT THE EARTH LIVE: When? Where? Huh? Thanks to Josh Vessey and Charles Ford for the answers. 89 MATS - BRISTOL, CT from Mark Timmins RAT RACE LIFE (sucks) from Shannon Drurys SLIM QUESTIONS AND STUFF from Scott Allen SLIM CONCERT REVIEW from Mikey Bischoff SLIM DUNLAP INTERVIEW!!! thanks to Scott Hudson (Also has the newest Bash n' Pop rumor) 'MATS HISTORY ON "CHARLES IN CHARGE" AND OTHER MIND-NUMBING TV (Charles Ford) "GROOVY". Charles Ford (who must watch alot of TV to know all these obscure television references) MY FAVORITE REPLACEMENTS LINES K. PROPOSAL by Barefoot Jim ...and just in time for finals week... (contributed by Michael Niehoff) ---===---===---===---===---===---===---===---===---===---===---===---===---===-- "Who's gonna take us alive, sucker?" - Paul W. 1984 Date: Sat, 03 Dec 94 15:42:00 CST From: "M@" Yeah, it's been three months. Sorry this has taken so long to get out. But it's not a trend, but just a singular occurance. You can blame it on a combination of any or all of the following: a) unseasonably warm weather in the Missouri latitudes b) constant plague of mainframe difficulties (successfully navigated by the work and wisdom of BOB! ) c) overzealous Advanced Composition assignments d) love (and the presence of the United Kingdom) e) all those guys that sit around and play MUD's all day on the computers slowing the mainframe down to the speed of a Commodore 1541 disk drive because they've got four accounts going (each of them telneted to a different computer somewhere in Norway) and who give you the glare of death when you ask if you can read your e-mail "for just a sec?" Hey, to everybody who's tried writing the //Skyway\\ file server to get a list of download-able files has been getting the 'hello' letter with a note attached saying, "Whoops, sorry...the file listing isn't done yet!"...well, now it's done. And it should be up real soon now...I'll drop everybody a line when it is with instructions on how to access it. In the meanwhile, you can still use the phoenix.creighton.edu GOPHER. (The file listing has been recently updated.) Or, if you hate those things, you can just write me and say "I hate those things" and I'll manually send yah anything you want. Mark Fisher did a great job putting together the favorite album top ten lists of everybody who sent them in...and almost immediately, everybody else who didn't send them in the first time started sending in their own. So Mark's decided to do another edition. So if you missed out on the chance to narcisistically spread your snotty, elitest rock music opinions to everybody else, here it is again! Just send 'em in to Mark at: fisher@ns.case.org (and be sure to tell him to "Get back to work before I give yah a beatin', jerky!") And you're not tryin' to figure the top ten albums of all time (leave that to Rolling Stone...I think they have an issue on that every other year)...just figure out the top ten albums that you love the most and wouldn't dare leave home before you get stranded on that desert island (that has electricity and a CD player.) It's interesting to see what else people out there listen to besides the 'Mats... It looks like Westerberg made the Rolling Stone "Faces of the Future of Rock n' Roll" or whatever that's called. It's a really great page and a half interview with a nifty picture of you know who. The highlight for me was his story about how Tommy's lawyers needed a pick slip to show that the Replacements had offically disbanded. If I had the issue myself (instead of just reading it at the newstand), I would've typed it in for this issue for everybody...but if you've got it and a spare sec, send it in! And that goes for any other 'Mats article that you've got your hands on that everybody else is dyin' to read. Ron (swcoupe@aol.com) wrote (in a regular snail mail letter) that there's some band called _Bomb Pop_ with a a 7" single out: "'a classic 'Mats romp' called 'Bob Stinson'." I'm gonna look for this when I get home...how can I resist? Hey, and usually every issue, I try to do something obnoxious. And I was thinking about those 'Secret Santa' gift exchanges that they always have in school clubs and offices and stuff...and thought about, well why not exchange tapes of your favorite tunes with people on the Skyway? So here it is, what to do, and how it works... ** //\\ //--==--==--==--==--==--==--==--==--==--==--\\ +-------+ ///\\\ | Christmas 1994 Sekrit Skyway-er info stuff | | O = O | ////\\\\ \\--==--==--==--==--==--==--==--==--==--==--// +-.---.-+ || First, send me your name and address at skyway@phoenix.creighton.edu. Then... 1) You'll get an address. It's your job to MAKE A CASSETTE TAPE (of at LEAST 90 minutes long, PREFERABLY CrO2) of your favorite songs, live Replacements recordings, comedy skits, maybe something you've recorded.. a mix of anything that you love...and send it to that person. Make sure they get it by Christmas. You can send it anonymously or you can put your name and return address on the package...you can give as much or little information about yourself as you want. (CrO2 tapes are also called commonly "high bias" tapes.) When I send you somebody's address, I'll include their e-mail address. You can get in touch with them if you want, maybe ask them if they already have a copy of a Replacements concert, or if they're already heard some bands that you were gonna put on the tape...or you can just completely leave them in the dark and never write them beforehand and leave the return address off the package and just be anonymous! The person's address that you get WILL NOT be the person that has YOUR address. This isn't a paired exchange, but rather a sort of circle. (That way you have the chance to become acquainted with more than one person.) 2) When sending in your address for an exchange, PLEASE remember that you are MAKING A COMMITMENT. Someone else is going to be sending you a tape, and if you don't mail something out, you're leaving somebody who honestly participated the short end of the stick. If you haven't received anything by Christmas, write me and I'll write the person who's got your address and ask what's up. So if you sign up for this, PLEASE fully participate and fulfill your end of the bargain. 3) It's totally up to you to decide what to throw on the tape, but it's probably safe to assume that if you sent somebody your favorite Replacements songs straight off the CD's, they're not getting anything that they haven't already heard...as well as if you just send them 90 minutes of your local radio station. Try to send the person stuff something new or cool that you think they might not have heard before. But something like great versions of Replacements songs from live tapes or rare stuff that the other person may not have heard are great. And if you want to go ahead and blow your cover of anonymity, you could even go ahead and write them over e-mail and ask, "Hey, have you ever heard (so and so?)" to find out what the other person has already heard or help you figure out what the might like. 4) If you have the time and the inclination, MAKE THE TAPE LABEL NEATO. Maybe you could pull out the crayons, or the laser printer, or some yarn and some glue or whatever trips your trigger. And it's nice to know that when that other person gets your tape, they'll be opening the package and saying, "Wow! This is really cool!" (Remember, it's the season of giving.) 5) Be sure and mail your tapes in a PUFFY PACKAGE. These are available at the post office for less than a dollar and it will protect the tape from being smashed. (Also, bubble wrap and a manilla envelope will probably do as good of a job.) Also remember that if you are mailing a tape to Canada or overseas that you need to mail it from the post office to get a customs seal (a small green piece of paper) where you declare what's in the package. Just mark "(X) GIFT" on the appropriate blank and it's safest to just write "tape of talking" so customs doesn't decide to open your package and find this subversive rock music on it. Also be sure to write "PAR AVION/AIR MAIL" on all Canada and international packages. And be a nice person and mail it first class so it doesn't get squashed with the magazines and stuff...and to make sure that they get it by Christmas. (Mailing stuff overseas isn't THAT much more than domestic, so be afraid to participate if you're from out of the country. Heck, I'd be intruiged to get somebody from another country.) 6) Feel free to INCLUDE ANYTHING YOU WANT in the package, like lyrics, photocopies of a Replacements concert review from your town, a flier from a concert, ticket stubs, nick-nacks, candy, pictures, posters, whatever...'Mats related, or not. It's totally up to you. 7) Don't get yer ass in trouble by sending letter bombs, drugs, or anything else that will get the other person a federal investigation. Any questions? Drop me a line...I hope this all made sense. Hey, if you want to get in on this, just drop me a line at this address (skyway@phoenix.creighton.edu) with you name, address, and anything else and I'll send you your recipient 'Sekrit Skywayer's address within a day or two. I'll try to honor any requests that you may have about your tape recipient (such as, "I want somebody from Wisconsin" or "Try to give me somebody from California.") I won't give you the person that has your address, unless there's some crazy shit that happens. I figure this is a great way to expose others to the tunes that you know and love, and get something that you might fall in love with in return. The whole thing will cost you no more than $4 (two bucks for a high bias tape and for the packaging and postage) and the time it takes to make your tape, address the envelope (however nifty you want to), throw some other junk in the envelope, and run down to the post office on your way home from work. Again, thanks to everybody who sent stuff in. You definitely have to check out the Slim interview...as well as the tapes that Mark Timmins and Teddie James are putting together. (Thanks, guys!) I found out the scoop on that Swingin' Party '94 back in August from Ron (swcoupe@aol.com) when I made a very brief stop in Minnesota at the beginning of October: the whole thing fell through at the last minute. We'll do it this summer after I graduate at the beginning of August. We'll tear the goddamn town apart. (Well, how about we go tip over some trash cans for some laughs and nostalgize about when it was like to be 18 and not eligible to be "tried as an adult" unless you killed somebody instead.) So write it on yer brand-spankin' new 1995 calendar when you get on: AUGUST: WEEKEND IN MINNEAPOLIS. Have fun, meet people, run around the town, listen to tunes, hell...gee...you could probably even get drunk I bet! Hey, Mark Fisher forwarded me the funniest thing I've ever seen in my life: the Menthos FAQ (that fresh breath candy that has those dorky European commericals?) If you want a copy of this hilarious thing, drop me a line and I'll forward it to yah... As for me, I'll be heading back home in two weeks (still retaining net access) for the Holidays where I'll continue in the tradition my summer mowing job...by doing snow removal. So send me the recipe for your favorite hotdish! (How very Minnesotan...if I get enough of 'em, I'll send out a list of everybody's favorite hotdish recipies!) Hey, Happy Holidays and all that stuff! -- Matt (M@) =). -------------------------------------------------------------------------------- Date: Thu, 13 Oct 1994 12:01:50 -0400 From: timmins@polysci.umass.edu Subject: Demos, B-Sides, etc. Hi, all: I've been trying to put together a compilation tape for myself of the best of the rarities by our beloved band. I'm restricting myself here to studio demos and b-sides essentially. That is, I'm not including concert tracks or demos of songs that showed up on real albums, unless they are particularly interesting, like the 'elevator shaft' version of "Can't Hardly Wait." What I list below is something like 88 minutes worth that I threw together from what I currently have in my possession. My question is, I guess, is there any crucial stuff that I'm missing? If anyone knows of any such tracks, please let me know. Since I've already made _The Fans Hit Back_, I might willing to make copies of this for other people if there was interest, but I'd probably want to get my hands on better source material before foisting this upon a mass audience. Does anyone have particularly good quality recordings of these songs (other than the ones I've indicated with an asterisk)? If anyone else wants to volunteer to organize this, that's cool, too. Out of Place 'Mats (Demos, B-Sides & Such) *Cruella de Ville þ *Date to Church þ *Dice Behind Your Shades (Festicle Version) þ *Man Without Ties þ *Seein' Her þ Nowhere Is My Home þ If Only You Were Lonely þ Take Us Alive þ Temp- tation Eyes þ Sweet Sweet Girl þ Can't Hardly Wait þ Birthday Carol þ Bundle Up þ P.O. Box þ I'm Drunk Time Is Killing Us þ Cool Water þ Jungle Rock þ Election Day þ Tossin' and Turnin' þ Route 66 þ Trouble on the Way þ Make This Your Home þ Run for the Country þ Beer For Breakfast þ Nude þ Goin' Outta My Head þ Learn How to Fail þ *We Are the Normal (by Goo Goo Dolls, but Paul wrote the lyrics) *Backlash (by Joan Jett, but cowritten with Paul, who sings backup. Does he also play guitar?) I chose to leave off the two songs from the _Singles_ soundtrack, but if I recall correctly the actual score to the movie contained various instrumental versions of "Dyslexic Heart." Does anyone have copies of those? Also, I recently read a blurb in _Rolling Stone_ which said that Paul was going to submit a track to a forthcoming soundtrack album for some TV show -- _Melrose Place_? Does anyone know more about this? -Mark -------------------------------------------------------------------------------- Date: Thu, 6 Oct 1994 17:15:14 -0700 (PDT) From: Eldon Potter Dear friend: The extent of my 'Mats experience is that I went to school at Macalester College in St. Paul, MN from 1983-87. I had heard legends about them, especially from my RA who had actually seen them at Goofy's, a grimy strip bar with moist floors and bad lighting. I was in the Twin Cities when they still played bars around town, when "Shit Hits the Fans" was released, when "Tim" came out and they did seven straight nights at the 7th Street Entry to celebrate. Sadly, I nerded out completely and took advantage of none of this. I never saw 'em in concert. Sometime around '86 when I lived in this house of dudes (who eventually became bandmates) I scored a copy of "Hootenanny" and we just played the shit out of that thing for an entire summer. Since then I have followed the Replacements with much interest and cherished their recordings. I'm also writing for a friend of mine, Bill Deitz, who is the delivery driver at the Kinko's where I work. He is a big 'Mats fan, and quite a collector of bootlegs, records, videos, etc. Actually, he's more psyched than I am to get hooked up with you guys. So tell me how this works, and send stuff. I promise a response. Eldon Potter (The EFN in my address stands for Eugene (Oregon) Free Net) -------------------------------------------------------------------------------- Date: Thu, 27 Oct 1994 22:26:59 -0400 From: JFAnderson@aol.com Subject: AAAARGH!!!!!!! Hello Matt, Well, I finally found the time to respond to the "welcome to the skyway" questionnaire tonight, and as I was within five minutes of finishing (read: over an hour invested), my five month old Golden Retriever unplugged the computer and I lost everything. I'm still fuming, though I have stopped yelling curse words. Anyway, if you could send it to me again, I'll fill it out sometime after I've cooled down. Thanks. Also, I just wanted to make sure I was still subscribed since I haven't gotten anything since the post with the lyrics to the first four records some time ago. I'd also like to put a message in the next edition of skyway re: trading tapes. I've got masters of Westerberg solo, and DAT clones (and lots more) of 'Mats and I'd love to trade for tapes that I don't have. Anyone interested in trading can send me their list at JFAnderson@aol.com, and I'll send them mine. Hope you're doing well, and school's going smoothly! Best, John -------------------------------------------------------------------------------- Date: Thu, 10 Nov 1994 21:27:03 -0800 From: Michael Niehoff Subject: Mats' Tour History Well, I think the first time I got to see them was on the Please to Meet Me Tour in San Francisco and Fresno. And yes, because I was working at a music publication at the time, I was able to meet Paul Westerberg backstage and talk to him briefly. I was also fortunate enough to interview the band in person in Los Angeles in 1989 for the Don't Tell A Soul Promotional swing. Actually, I interviewed Paul and Tommy while Slim and Chris sat at another table. That was a highlight I have to admit. My story was published in the magazine I worked for and a couple of newspapers. Anyway, I saw the Westerberg solo tour the summer before last in San Francisco and loved it. It had some elements that I even like better than a Replacements show. Anwyay, when do I get some more information from your network? I am curious. Thanks! -------------------------------------------------------------------------------- Date: Thu, 17 Nov 94 08:17:37 EST From: jloughney@riasmtp.riatax.com Hi all, I've known about Skyway for awhile, but since I haven't had a real email account, I've held off subscribing ... Introductions - My name is John and I spend far too much time behind a computer at work (a publishing co - I do electronic publishing for material that is soooooo dry ....) I also write, review for a free magazine here in NYC (it has a distribution of about 50,000 at NYC college campuses (did I spell that right?)). I'm 27. Bands (other than the 'Mats) that I like (in no particular order) - Husker Du/Bob Mould/Sugar/Nova Mob, Nirvana, Sonic Youth, My Bloody Valentine, Julian Cope and too many others to mention .... My personal Replacement story - I saw the 'Mats the first time in '89 while a student at the University of Vermont. The show was great, I was pressed hard against the stage, in the pit and having lots of fun (I think that Paul even dripped sweat on me at one point). I can't remember the set list at all, but I was really suprised because the show was very good - loose but coherent and the band seemed to be having a lot of fun. Anyway, after the concert, a local watering hole, my friends and I were sitting around, drinking a few rolling rocks when Paul, Slim and Tommy came in and checked out the place (BTW - Tommy was wearing the most garish looking sports coat I have ever seen - early seventies orange - lime green and bright yellow). Slim and Paul didn't hang out very long, but Tommy looked game. He hung out for a very long time. My friends and I were eating some french fries and gravy. Tommy sat down and asked if he could have some. So we sat around, munching on some fries, drinking some beers and engaging in idle banter. I was a little suprised 'cause Tommy was very down to earth and it was as if he was just another student at this bar. Anyway, around this time, I got involved in a conversation with someone who was the object of my desire - and, well, my attention turned elsewhere for the rest of the evening .... *****ADVERTISEMENT****** OK - if anyone has a tape of this show ('Mats March? '89 - Burlington VT) I would love to work out a trade. Also, I have heard that Bob Mould has joined Paul on stage in several places over the last few years (they even did a cover of the Motorhead song Ace of Spades). If anyone has a tape of something like this, I'd love to trade. Does anyone have any of the early Minneapolis cassette compilations - Code Blue, Barefoot and Pregnant, Kitten comp ., etc.? I'd love to get a copy of these as well. Oh, heck, anyone interested in trading 'Mats, Husker related and so on, send yr list to me! (John Loughney jloughney@riatax.com) *****END OF ADVERTISEMENT****** Is there a list of the various demos of the 'Mats that's circulating around? I have 4 or 5 different sessions and would love to get more info on them. Finally, what are people's opinion of the Paul song on the Melrose Place sndtrck? I picked up a promo copy of the tape (for 88 cents) and was disapointed. I liked the Dinosaur Jr song better. The song isn't bad, just a little bit lightweight. Ok, I've rambled far too long and killed everyone's patience - so sue me. Thanks in advance for any help on any of the above questions. John Date: Thu, 17 Nov 94 12:58:32 EST From: jloughney@riasmtp.riatax.com Subject: small epiphany ... Just a quick note: I was reading thru some of the back issues, when I came upon a line: >> "Androgynous" for example. On the surface, it's a clever little >> tune about guys and gals who look the same, but when he tears into >> a line like "He might be a father, but he sure ain't a dad," it >> just rings so true. There's the song Serve the Servants by Nirvana, which has the line: >> I tried hard to have a father, but instead I had a dad. Similarity or coincidence? I know other parallels - the album Nevermind and the song Nevermind. I never heard or read an interview where Kurt stated that he was influenced by the 'Mats, but I think he was most definately. The line from On A Plain "Love myself better than you. Know its wrong, but what could I do." sounds like a Paul line, as well. John jloughney@riatax.com -------------------------------------------------------------------------------- Date: Sun, 20 Nov 1994 11:17:14 -0800 (PST) From: Mark Edward Mauer I get sad when I read about the Mats on the net. Concerts, new albums, girlfriends, ex-girlfriends, one-time friends, out of contact, out of the midwest, and against everything I believed, nostalgia and a wish I would have understood it all a little bit more. mauer -------------------------------------------------------------------------------- Date: Mon, 21 Nov 94 18:39:39 EST From: Chris Wagner Just had a first look around some of the old newsletters. Fantastic! How have I missed this up to now?? Somehow seems fitting, though, that the Replacements aren't right out there with their own .alt group. Been a 'mats fan since Let It Be came out, saw them several times throughout the years, was bummed when All Shook Down came out and it was clear it was the end of the band. But I've been happy that they've each put out cd's since then (though I guess I should go back and give Slim's cd more of a chance after reading about it here). Anyway, I was wondering if anyone knows what's up with Chris Mars? Anything new on the way? I think his two cd's are very good, although my wife tries to dislike them due to he and Paul having their to-do (she likes them anyway as long as we don't try to compare). Just wanted to drop a line and say thanks for putting this together. -Chris -------------------------------------------------------------------------------- Date: Wed, 30 Nov 94 21:58:00 -0500 From: Jason Kreitzer Hi, my name is Jason Kreitzer. I first heard the Replacements in 1989 when I saw the video for "I'll Be You" on MTV. I thought it was great. I have since bought _Don't Tell A Soul_, _Pleased to Meet Me_ and _Let It Be._ I saw them open for Tom Petty on the latter's _Full Moon Fever_ Tour. Some of my favorite 'Mats tunes are: "I'll Be You," "Asking Me Lies," "Achin' to Be," "Nightclub Jitters," "The Ledge," "I Don't Know," "Customer," "I Bought a Headache" and "I Will Dare." 'Mats Forever! Jason Kreitzer -------------------------------------------------------------------------------- Date: Thu, 15 Sep 1994 18:20:33 -0400 (EDT) From: Tracy Trudell First of all, I just want to say thanks for what you got going here. I am new to the list but have been perusing the back issues and feel like I have struck paydirt!!! Great job and it is great to know I am not alone out there!!! A quick personal Mats story: One night a friend came over with his guitar to hang out. Now this guy is really into groups like AC/DC and kind of pokes fun (good-naturedly of course) at me for my music tastes. Well, he was just crashed out on the couch playing some riffs (?, I have no musical knowledge so I don't know if that is the correct term or not...he was just messing around playing a bunch of notes) and I wasn't paying too much attention. All of a sudden, my 10 yr old started hollering "That's a Replacements song!!" (My kids are pretty cool in their music tastes...my 6 yr old is currently into Stevie Ray Vaughan). Sure enough, this guy, by happenstance, stumbled onto the opening notes of _Can't Hardly Wait_, one of my all-time favorites. He didn't believe us at first until we played the cd for him. He taught me how to play it which is a big thrill for me (I'm very deficient in the musical talent dept. I think this might have been the first time I ever touched a guitar!!) He then got so caught up in trying to figure out the rest of the song he didn't even complain about listening to the whole cd!! To top it off, he said the next morning he woke up thinking about the notes and the song!! Well, it makes me smile whenever I think about it. I am a firm believer The Replacements music will strike a chord in almost anyone if they get a chance to really listen to it. Keep up the good work!! --Trying to make converts in the barren wasteland known as Upstate NY... Trac ============================================================================== Tracy Haynes email: trudell@oswego.edu Institutional Research State University of New York "The Blues come from behind, Oswego, NY The Blues wait up ahead..." --BB King ============================================================================== -------------------------------------------------------------------------------- Date: Fri, 16 Sep 94 16:32 EST From: Jim Gould Subject: Chris Mars update Greetings, M@ and fellow Skyway-traversers! I got an update of sorts from Chris Mars Publishing today, and in it is the following (stripped of detail for the purpose of brevity:) 1) Some ludicrous story about spending all year finding a cave with one Dr. Ziffle. 2) The promise of a new album, to be released in January or February on the Bar None label. (No further info.) Keep your eyes open. 3) Some info on CM products (T-shirts, posters, a Horseshoes lithograph, and even original Mars artwork). The address for Chris Mars Publishing, for those who are interested, is: Chris Mars Publishing, Inc. P.O. Box 24631 Mpls., MN 55410 Enjoy! Jim Gould - jgould@walnut.holli.com "..and your wise men don't know how it feels/to be thick as a brick." - Tull -------------------------------------------------------------------------------- Date: Sun, 16 Oct 1994 14:19:38 -0500 (CDT) From: DEAN T ROE Subject: New 'Mats cd boot Howdy fellow 'Mats fans, I don't know if anyone has covered this or not yet, but I just picked up a new Replacements bootleg cd called "Shit, Shower, and Shave." It's got 23 tracks and consists of 2 shows opening for Tom Petty and part of a headlining show. The packaging is very nice: cool 'Mats pictures and one page of info on the 'Mats and the shows on the disc. The cover is a face shot of Paul. I haven't had a chance to listen to it much yet, but I'd recommend it (especially if you don't already have "Inconcerated Live"). Made by Kiss The Sky (KTS 315). tracks 1-12 Lake Compounce in Bristol, Connecticut 8/31/89 (very good sound quality) tracks 13-17 University of Wisconsin in Milwaukee, Wisconsin 6/89 (aka "Inconcerated Live" Sire cd promo, great sound quality) tracks 18-23 Great Woods in Mansfield Massachusetts 8/28/89 (sound quality good, some hissing though) 1. Talent Show 13. Talent Show 2. 'Round And 'Round 14. Answering Machine 3. The Ledge 15. Anywhere's Better Than Here 4. Can't Hardly Wait 16. Another Girl, Another Planet 5. September Girls 17. Here Comes A Regular 6. Another Girl, Another Planet 18. Achin' To Be 7. Within Your Reach 19. Waitress In The Sky 8. Left Of The Dial 20. Don't Ask Why 9. Alex Chilton 21. Unsatisfied 10. Nightclub Jitters 22. I'll Be You 11. I'll Be You 23. I Will Dare 12. Bastards Of Young Now here's a question/favor. Last year someone submitted 3 articles to the Skyway he had written on "Collecting The Replacements" for Tapers Quarterly. I've got parts 2&3 but am missing part 1. Could someone please send me this? Also, I've got a Goldmine issue (#346) that has a nice write-up on The Replacements. It says "to be continued in next issue..." Well, does issue #347 actually continue it, and if so, how many pages, and is it interesting or just kind of a wrap-up? Can I get back issues from Goldmine or do I had to look around to pick up an old one from somebody? Thanks, Dean roex0006@gold.tc.umn.edu -------------------------------------------------------------------------------- Date: Mon, 31 Oct 1994 09:30:03 -0500 From: timmins@polysci.umass.edu Well, the same Italian "label" that put out _Shit, Shower & Shave,_ that Mats' bootleg from 1989 we heard about last month has also put out a boot from Paul's 1993 tour called _Gravel Pit_. It's from his 08/07/93 show at the Stone Pony in Asbury Park, NJ, two nights before I saw him in Albany, NY. The sound quality is quite good, and as you would expect there was a good mix of his new stuff and Mats' stuff. In the middle on one song -- can't remember which offhand -- he talks about how they were hanging out the night before at the hotel with Jon BonJovi and how cool he is and all. :-) Anyway, I wanted folks to know about it. I'll post a setlist below. Email me if you want to know more about it. -Mark PAUL WESTERBERG GRAVEL PIT Asbury Park, NJ, 07-Aug-93 Set List: Waiting for Somebody þ Mannequin Shop þ Achin' to Be þ Waitress in the Sky þ Dice Behind Your Shades þ Merry Go Round þ Seein' Her þ I Will Dare þ Whole Wide World þKnockin' on Mine þ Skyway þ Dyslexic Heart þ Daydream Believer þ Smokey I'll Be You þ Can't Hardly Wait þ Here Comes a Regular þ World Class Fad þ Alex Chilton þ Left of the Dial þ The Ledge þ Silver Naked Ladies The CD runs in excess of 78 minutes. I didn't even know that that was possible! -Mark Date: Fri, 4 Nov 94 16:19:03 EST From: cford@vnet.ibm.com <---- (That's Charles Ford) I've recently stumbled across another Paul Westerberg bootleg CD taken from the '93 tour. This one is called "Gravel Pit" (for some unknown reason), and it is basically the book-end to the "Lucky's Revenge" CD. It's another Italian import, except this one is on the "Kiss The Stone" label. Like "Lucky's Revenge" it is from a high quality DAT source, and the CD packaging is quit good. It contains recent photos of Paul, some factual liner notes written by someone called Professor "Funhead" Stone, and the disk itself even has a photo image of Paul embossed on top. "Gravel Pit" is taken from a live performance in Asbury Park, NJ at the Stone Pony on 8/7/93. (The CD incorrectly lists this performance as 7/8/93.) The tape of this show has been in circulation for some time. Amazingly, almost the entire show is captured on the CD. Only two songs were dropped-- "Things" which was cut on the tape, and "Someone I Once Knew" which was the show's lackluster opening song. No great loss here. Somehow the makers of this CD managed to squeeze onto it 78 full minutes. (Four more minutes beyond what I thought was a CD limitation.) The long length CD is jam-packed with twenty-two great songs which makes the $25 you will probably end up paying for it a bargain. Charles Ford Date: Ahhhh, whenever I got around to it. From: M@ I just picked up the Gravel Pit CD with the heightened expectations that all the reviews from the Skyway that had been pouring in gave me. Man, it's really a different show in alot of ways than "Lucky's Revenge" from LA that summer. It's alot looser...the energy's alot different. (Like, they tune down half a step on "Silver Naked Ladies" and Paul's voice is just raw...real roughneck tune on this one!) I think it's closer to the Replacements shows that I've heard, and Paul's had alot more to drink than he did on the LA recording. As for the sound quality, I think it's equal between the two for the most part, with the exception that I lean towards Lucky's Revenge because the mixing is a little fuller (just my ears). I think Lucky's is more /energetic/...and Gravel Pit is more /loose/. The band is really on in LA, and really ... I dunno ... worldly in this one. Like, when Paul goes "Okay, next motherfucker who jumps up here is gonna get it in the mouth, I'm sick of this shit!" Whoa, Paul! So if you've got a twenty-spot and your CD store has both of them, those are the comparisions that I'd use in choosing what to buy. Do you want a tight, energetic show...or the loose, harder one? (Hey, anybody else agree with me on this, or has this seasonal affective disorder thing really slowed me down?) -- M@ Date: Wed, 5 Oct 1994 12:59:20 -0600 (MDT) From: Robert Wiberg Hey Matt (and skyway fans) - I hadn't written in a while and finally found a coupla good reasons to write again... I just picked up copies of both the new "Shit Shower Shave" boot as well as a new Westerberg called "Gravelpit". Now forgive me my poor memory; I remember "SSS" getting reviewed in the last issue, but did anyone mention this new Westerberg? I don't recall it and it's a very new KTS release. Anyway, the Westerberg is great. For those of you that got ahold of "Lucky's Revenge" and appreciated the good sound quality, you won't believe this when I say the sound is even _better_ on "Gravelpit". (More consistancy and balance) Also, at 22 tracks, it's longer than LR and there are some great numbers on it, incl. "Seein Her" which I just love and "Here Comes a Regular". Noticibly absent is "Things", which is another of my favorites, but oh well... I would highly recommend both of these to anyone who can find them. On a side note tho, I have to say that SSS is kind of a sad recording for me to listen to, despite the good sound: At times they don't really sound like they are playing for their own audience, but for the the headliner's fans, and at the end of the "first set" Paul thanks the audience and says "Mr. Petty and the Heartbreakers will be right out"... Not only do I really despise Tom Petty, but to hear our favorite band leaving the stage for him is a drag. Even though I was well aware of the tour arrangements, etc, it's difficult to hear Paul say it out loud. Nonetheless, a good package. Any word on Bash and Pop? I keep thinking it's getting about time for something new from one of the boys. Thanks for listening - rob spike@enzu.unm.edu "Something always happens, eventually..." -------------------------------------------------------------------------------- Date: Wed, 21 Sep 1994 16:04:16 -0700 (PDT) From: Ric Dube Subject: New Westerberg song! My sources inform me that there will be a new Paul Westerberg song on the upcoming Melrose Place soundtrack album. The song is called "A Star Is Bored," which we should all admit is so painfully a characteristic Westerberg song title that he should get a firm "oh please, really" from the next Skywayer who gets to talk to him. _____________________________ Ric Dube dube@u.washington.edu Date: Sun, 27 Nov 1994 21:48:03 EST From: fisher@ns.case.org Subject: The Westerberg/Locklear connection Greetings Skywayers: In the lamer than lame category: Paul Westerberg has a song on the new "Melrose Place" CD. Along with hip numbers from Aimee Mann, The Divinyls, and Dino. Jr., you'll find "A Star is Bored," an original Westerberg tune. Since the local Tower Rekkids store had the MP cd in one of its listening stations, I fired it up. What I heard was a sort of nice acoustic tune with a "They're Blind"-like chorus. Nothing to run out to the Sam Goody at the mall for, but may be of interest to completists. (Plus, in the kinda-neat category, Bash&Pop checks in with a cool new tune on the _Clerks_ soundtrack.) Bye. --Fish -------------------------------------------------------------------------------- Date: Mon, 28 Nov 94 16:01:00 PST From: "Zipeto, Ken" Hello Matt and fellow Skywayers, I just thought I would pass this info along. There is a new cd bootleg coming out with the Replacements last show. It's a double cd from the radio show in Grant Park Chicago. The cd also has a show , or part of a show, from 1989. The cd is called "Goodbye Bozos". Oh! by the way, I'm pretty new to the //Skyway\\ and I still have to do the survey thing and all that, but I thought everyone would like to know this info. See Ya! Ken -------------------------------------------------------------------------------- Date: Sun, 20 Nov 1994 14:50:42 -0500 From: Stax920@aol.com Subject: Making Me Sick Hey Matt, Thanks a lot for sending along the chords to the Mat songs. I've added Rock And Roll Ghost to my repetoire. Just want to make sure I'm still on your list because I haven't gotten anything from you since. :) [What this is in reference to is the Skyway collection of guitar chords to 'Mats songs that's available. It has over a dozen songs collected now, and I just added the following contribution to the file. It's available from the phoenix.creighton.edu gopher in the //Skyway\\ section as "songs.txt". You can also get it from the listserver at this address, or you can just write me and I'll forward the sucker to yah. -- M@] I wanted to send you the chords to Bash & Pop's Making Me Sick from the Clerks soundtrack. But, uh, Tommy must have taken enunciation lessons from Paul so the words are a mess. If you or anyone else would like to take a crack at them and send me what you come up with, I'd be grateful. The chords I'm pretty solid on, but if anyone has any suggestions to make it better, I'd love to hear from you. Intro: E G E A E G E Well I've come back again A E G E A Where I've never left off E G E To the same bridge I burned A E G E A Wanted just to leap off E G E Well I like it so much A E G E A Want to work it real hard E G E Feeling good now for nothing A E G E A Acting like a retard Chorus: A B Anyone could break your heart in two G#min A Everybody's giving so much soul B Taking pity wouldn't know what for E G E A You're making me sick E G E A You're making me sick E G E You asked me a question A E G E A Wish I could take it back E G E You like a CD, well I'd A E G E A Rather hear an eight-track E G E I'm a needle you know A Never want to be a haystack Repeat chorus Bridge (the words are really a mess): G Good taste knows your heroes E G E A Spin it around G Good taste knows your heroes B Spin it around Play verse instrumental Repeat Chorus This is my first post to the list since I filled out the comprehensive survey. So hello out there. Looking forward to hearing from you. There's an awful rumor circulating on the AOL board that Bash & Pop lost their deal with Sire. But the Clerks soundtrack credits Sire/WB. Does anyone out there have any info? [Read on, Scott Hudson looks like he's heard the scoop -- M@] Derek Caney Stax920@aol.com -------------------------------------------------------------------------------- Date: Tue, 29 Nov 1994 17:42:32 -0500 From: timmins@polysci.umass.edu Subject: Bash & Pop bootlegs? Hey: I've been getting really into the Bash & Pop album lately. We've even learned how to play "Never Aim to Please," which has been sent to Ted James for his tribute tape. What I'd really love is to get my hands on a copy of a Bash & Pop bootleg -- has anyone ever seen one? -Mark -------------------------------------------------------------------------------- Date: Thu, 27 Oct 94 15:05:39 CDT From: Teddie James-CSIC_Publications Subject: Replacements Tribute Tape TALENT SHOW - REPLACEMENTS TRIBUTE ALBUM Howdy. Since "The Fans Hit Back" was such a success, I thought that it would be a good idea to put together an internet Replacements tribute tape. There seems to be so much talent within the members of the Skyway. I've decided to call the tape "TALENT SHOW." It's kind of fitting. I've already gotten a bit of interest. I have included a list of bands already involved in this project. I'll post updates when necessary. So far, there is no deadline, but I'd really like to get this done within a few months so everyone can enjoy the music. I thought about just limiting this tape to members of the Skyway, but a few people have said that friends of theirs would be interested. So now it's open to Skyway members and friends of Skyway members. I'm sure that there will be enough interest to keep this a kind of personal, friendly project. When recording your covers, don't worry about trying to be faithful to the original. Play them in your own style. It's more fun that way. I'd rather see an interpretation of a song than a copy of it. If you could record your band playing a Mats cover at a gig, that would be really nice. Also, quality is not a problem. I'll take everything from jam box recordings to four-tracks to full studio recordings. Anything will be fine. To keep us from getting a dozen copies of one song, please try to reserve a few songs. The Mats gave us so many great songs in so many different moods. I want to get a wide cross-section of covers. If somebody has already picked a song that you wanted to do, go ahead and record it anyway. I'll choose the best one. I'd really like to see covers of B-sides and outtakes. I would also like to see covers of some of the solo works. If there's enough interest, I'll make two tapes. If you have any ideas for cover art, please send them along. A friend of mine can do the art for free. I can lay out the sleeve in FrameMaker, so we'll end up with a really nice end result. When the tape is finished, I'll post something to the Skyway. Of course, this is a non-profit project, so I'll be distributing copies at cost. Please include a short bio of your band for the liner notes. Please send your recordings to: Ted James 2324 Aldford Dr. Austin, TX 78745 If you need to contact me for any reason, call or email me at: tedj@oakhill-csic.sps.mot.com 512-441-6428 (H) 512-891-8602 (W) I hope to hear from you soon. Ted ------------------------------------------------------------------- TALENT SHOW CONTESTANTS timmins@polysci.umass.edu Mark Timmins - King Alcohol -Here Comes a Regular -Skyway -Never Aim to Please Friends of Mark Timmins -Little Mascara tedj@oakhill-csic.sps.mot.com Ted James - Whirled Peas -Buck Hill -Seen Your Video -Johnny's Gonna Die -Election Day dube@u.washington.edu Ric Dube -Shut Up -Heyday -Favorite Thing Friends of Ric Dube -Take Us Alive [And I thought this was an appropriate place for a comment on instrumental music from instrumental music person Ted James himself... - M@] Date: Tue, 20 Sep 94 16:28:06 CDT From: Teddie James-CSIC_Publications Subject: Fans Hit Back comp > Date: Mon, 8 Aug 94 19:10:54 CST > From: "Scott A. Wickman" > Subject: Mats as a comparison standard; tape > > What else? _The Fans Hit Back_ is the best thing I've heard since > _Pleased to Meet Me_. All the songs are great. Raw, original, > funny, catchy. . . but none of those words really capture what it > is that these songs all have. Life? (Too corny.) Meaning? > (Not the instrumentals.) I don't know how to describe it, but here Scott, Are you trying to say that instrumental music doesn't have any meaning? Please explain. A song doesn't have to have words to be expressive or meaningful. If a piece of music conveys a certain feeling to the listener, then it's got all of the meaning in the world. Now, I have no trouble with constructive criticism, but when someone makes a remark like that, I have to question your judgement. Just try listening to anything by Joe Pass or Wes Montgomery. There's so much expression, so much feeling, so much meaning in their music that you cannot help but feel moved by it. As far as the type of music I play, instrumental surf, is concerned, just listen to anything by Shadowy Men on a Shadowy Planet. To me, their songs are theme music for everyday life. They make me think about many different things. The songs invoke memories of so many situations that just seemed to pass me by before. Instrumental music does indeed have meaning. The listener just sometimes has to be open enough to see it. Ted James CEO, Whirled Peas -------------------------------------------------------------------------------- [This is in response to a question I had in the last //Skyway\\ about if anybody had ever seen/heard We'll Inherit The Earth" live... - M@] Date: Fri, 16 Sep 94 13:14:42 EDT From: cford@VNET.IBM.COM Subject: Inherit The Earth In response to the recent question on SKYWAY regarding 'Inherit The Earth.' Yes, it was performed live a few times on the '89 tour. In fact, I personally heard the Replacements muddle through it in Dallas on 4/89. Unfortunately, this song just did not fly live. They dropped it for good reason. My opinion is that this song was not one of Westerberg's better ideas anyway. But, I guess everybody has their favorites. Charles Ford From: Joshua Vessey Matt - to answer one of your trivia questions, "We'll Inherit the Earth" was played at least once, at the 6/3/89 show at St. Paul's Roy Wilkins Auditorium (I have it on tape, it's a great show where they play Alex Chilton first (!) and also do Sadly Beautiful and some other random stuff..) Highly recommended. Josh jcvessey@husc.harvard.edu -------------------------------------------------------------------------------- Date: Tue, 04 Oct 1994 17:21:53 -0400 From: timmins@polysci.umass.edu To: skyway@phoenix.creighton.edu Several people on the list had mentioned obtaining a Mats bootleg from the '89 tour when they opened for Tom Petty. Someone was kind enough to trade me for a copy of this, and I have now passed copies along to a friend or two, as well. I was particularly interested in this bootleg because I was in the audience at the show which is featured -- the Lake Compounce amusement park, in Bristol, CT. The tape would really bring me back if only I remembered a little more about that day than the fact that having taken a half-day of vacation from my "real world corporate job," I had consumed both mine and two other people's allotment of some wretched malt liquor named Magnum, at which even my slacker friends (before the term was coined) turned up their noses. Anyway, one thing that I do remember was that we were pleasantly surprised at how many of our favorite songs they did play which we had never before witnessed live, such as "Within Your Reach" and "Bastards," although I probably would've misremembered which such faves had actually been played that night. The other thing that strikes me now about the concert that I don't think I caught before was that out of ten or so songs that they played, only two were from the then-current album, _Don't Tell a Soul_, namely, "Talent Show" and "Achin' to Be." Anyway, the sound quality is pretty good on this one, even if the band is in their usual less-than-perfect form. And the cracks about the Rolling Stones being on tour are as relevant today as they were 5 years ago! On occasion I wish we had stuck around to hear Tom Petty, but not too often... -Mark -------------------------------------------------------------------------------- Date: Sat, 08 Oct 1994 15:18:09 -0500 (CDT) From: REBEL GIRL Subject: it's been a while! I lost my frequent e-mail access once I graduated, poor me, but I'm back on campus for homecoming (rah rah) so I got to check my mail. Real quickly I wanted to point out that the questionable lyrics in "Run It" refer to streets in Minneapolis. They are, as far as I remember them... "Lyndale/Garfield/here comes Knox/here we go, run it" The last line is garbled as only Paul can garbleit. In other news, I join the rat race officially on Monday as a Product Feature Writer for ValueVision home shopping network. Seriously! I guess I'm supposed to write up descriptions of products that are used on the air by the hosts. Something like, "lovely bracelet, 24 karat gold, genuine diamonds, only $29.95" or whatever. Should be interesting. You should all watch for my work. I miss getting the Skyway regularly, but I'm glad to know that it's getting bigger and better than ever. Matt, you're a god to me. Sorry my sister was so sassy, ha ha! Luv, Shannon -------------------------------------------------------------------------------- Date: Thu, 01 Dec 1994 13:49:58 -0500 (CDT) From: ALLENSM@dlu.edu Does anyone know anything about a new Slim album? A magazine (I've forgotten which one) said that his second album was to be released in mid November. It hasn't come yet and I have been extremely disapointed. Another question, does anybody out there think that Slim's show was more entertaining than Paul's show. I saw Slim in Nashville and it was one of the best shows that I have ever seen. He is very funny. It was better than I expected. Paul is great and all but I am more impressed by Slim and Chris. As far as post Replacements albums go, I like C. Mars far better than the rest. Slim is probably second just because he put on such a good show. Again, I am very impressed with Chris Mars. I particularly like his lyrics. Anyway, I have bored you enough with my babble. Please understand that this is my first time responding to //Skyway\\.Later Scotty ps. If Chris Mars decides to put down his brushes and tour, I would really like to know. Thanks. -------------------------------------------------------------------------------- Date: Sat, 03 Dec 94 19:15:24 CST From: Mike Bischoff ... saw Slim at a small bar for a couple bucks. They hit the spot. They are the perfect bar band. Absolutely no pretensions, having a great time, getting nowhere and not really caring about it. The highlight of the show was when Slim said, "Ok, who out there can't play guitar worth a shit? All of you get in line next to the stage, 'cause you are going to be soloing during this next song. If anybody gets up here who actually knows how to play guitar, I'll kick your ass. No shit." They played the song for about 20 minutes and everybody that wanted to played Slim's guitar. It was great. They were nowhere near the Replacements the whole night and there was no mention I heard of the 'mats on stage or off in that bar. Before I went, a friend of mine was going on about how "tragic" it would be and how much a shadow and "rock-n-roll ghost" Slim must be. But it didn't turn out to be the case at all. They're just a great blues/rock band. Mike. -------------------------------------------------------------------------------- Date: Sun, 30 Oct 1994 23:25:58 -0600 (CST) From: Scott Hudson Alumni Hi everyone! It's been a while since I've received any 'mats news, so here's something to spend some time deciphering. Slim is coming to our town next week, so I got the opportunity to do a phone interview. Yes, he can talk. A lot. This would be even longer if a good ten minutes of the tape was decipherable. Scott Date: Mon, 28 Nov 1994 13:34:02 -0600 (CST) The Slim story doesn't stop there. When he played in town a week after my article came out, I went up and introduced myself. He told me I "did him right" in the story. Later that night he was doing a song about awful guitars and was pulling people up onstage. A friend of mine forced me up, and so I did my best Pete Townshend, Keith Richards and Chuck Berry. Slim was laughing as hard as my friends and I were. He was pretty cool. A couple of weeks later my friend's band played at 7th Street. Slim promised that he would show up, and he did. Slim hung out with them until 7 a.m. Of course the stories flowed, although I question some of them. Like his assertion that Twin Tone actually taped "Shit Hits the Fan" and those were among the tapes thrown into the river. Also, Tommy's album is delayed for about six months because Warners rejected it because of the vocals. Anyway good to hear Skyway's back. Scott T: Although you've been around for a long time, most people know you only as 'former Replacement'. Tell me about your pre-'mat days. SD: I've done this for over 20 years. I've been in 8 billion bands, mostly in bands that I never thought would get anywhere. I'm largely known prior to joing the Replacements for my work with this local singer by the name of Curtiss A, and I was in a million combinations with him. People ask me a million times for the names of the bands I was in, and I've forgotten them all. (Laughs) Best not remembered. I'm not a particular style. I'm a lot of different styles. I've taken on a lot of styles only to realize, shit I can't play that. The legend about me in Minneapolis is that people would see me playing bluegrass one night and in a big hard rock thing the next. Nobody around here could ever figure out exactly what I am. It's fun to change it up because I don't want to turn it into a job. A lot of guys think only in terms of career after a while. I definitely don't want a career. I've pulled the plug on myself many times. T: What was your role during your stint in the Replacements? Do you think you added some stability to the band? SD: Oh, I keep on getting credit for it but I think that's the last thing that band needed. I can probably say I'm the consummate sideman. I've spent 20 years being a sideman. Going into a band, a sideman is all about being there, and I tried to do that in the Replacements. It wasn't my job to come in there and say 'here's what you're doing wrong' because at the time I loved that band. Coming into the band, settling down and sobering up and growing up and shit like that kind of chronologically happened because they were kind of reaching that point. I really think that my role in the Replacements was to not have a role. To not change them in any way, shape or form. I get the credit for a number of things, but for the most part they're undeserved. You're in a position where I'm a songwriter; I know what being a songwriter's all about. There are many times when a band is a songwriter with a bunch of other people around him trying to guide his songs. I don't think that's necessary. I tried to let Paul know that he could do anything he wanted to and I'd do anything I could to help the song out. I think that's why he and I are still friends. That's how it can get ugly. There are so many bands that break up that started up as the best of friends and end up hating each other. I never take bands all that seriously. T: I'll bet you have a million stories. SD: Anyone who has been on the road has stories. That's why I love what I do. I'm a people kind of person. I love people and as a songwriter that's where I get most of my material. T: The song on your solo album about opening acts - is that about being an opener or from years of watching warmup bands? [The song in reference here is "The Ballad of The Opening Band". -- M@] SD: A combination of the two. I love show business. A lot of my songs are about being a musician and they don't really mean much to people who aren't musicians. I believe you should write your life, and it's been my life. Not in a bitter sort of way. They're not sad songs. T: With all the critical acclaim the Replacements received, why do you think they never hit it big? SD: I get the weirdest looks from people when I tell them, but in a weird way I'm kind of glad. When you reach the point where the band sells many millions of copies of a single record, it's usually the most wide open and successful type record. The Replacements were never a wide open band. The record company tried their damndest bit I really think the Replacements were different from other bands in that they weren't writing songs specifically to be hits. They were writing songs that said something to the right person, the words meant a lot to this person in particular. You and me are still talking about the band because there will always be another group of kids becoming 17, 18 years old and the Replacements music will always mean something to that age group. I don't think every band should be a huge Def Leppard, Bon Jovi kind of thing. If the Replacements had made that leap, I don't think we'd be discussing them in the same way we are now. There'd be a big success, a peak, and a burnout period, and it'd be done. The whole time before I joined and then afterwards, I never saw this as a possibility for the band. In a weird way that music is too literate, too intelligent to make it big. You never know, though, because occasionally good stuff does make it. A lot of it also is that the times were different. If the Replacements where they were in 1986 were right now, it'd be a completely different story. At the time of the Replacements, the real competition for heading toward the mainstream was R.E.M. At one time both bands were in similar positions, and were poised to make that leap. R.E.M. made that leap, and the Replacements didn't. Who knows why that is, but I think a lot of it is that R.E.M. was more willing to adapt to the marketplace. They'd write the songs, record them, and then hand them to the record company and say do what you want with them. I think bands that do walk that line pay a price. T: Certainly there's a bit of a backlash against them also. SD: In a weird way there is. A lot of the people who loved the Replacements at the beginning stuck with them until the end, and there were some that thought they lost something at some point. You can't win with everybody. I think to a lot of the younger musicians, the Replacements are a shining example of all you end up with in the end is your dignity. The time you are in the limelight is very important because you live with it the rest of your life. All of the Replacments are proud of what they did and they have nothing to look back on in a bad way. I know some musicians that had a huge hit and when it comes on the radio and you're sitting there next to them you can just feel them bristle. That never happened to the Replacements. I think the saga of the Replacements is not over yet. I think in a weird way the band going under may have been the best thing for each person involved. T: I must admit I'm a surprised at the quality of the solo projects. Who thought that Chris Mars couple put out two pretty good albums, and Tommy's debut (Bash and Pop) was fantastic. SD: It was hard for Tommy and Chris because they were writers. I remember being interviewed with them and the interviewer asked if sometimes we felt we were just the backup band for Westerberg. Tommy and Chris just looked at each other, and I said, 'actually, yes.' They got really upset, they were offended at that perception. That's a difficult thing for a person like Paul, thinking we'll continue the band and these guys make a comfortable living. But in the end, they had music to get out. And that was kind of the impetus for folding. Everyone could go in their musical direction. Paul, to his credit, knew he'd be alright, and also thought if they get there music out there, maybe they'll do okay. Tommy and especially Chris definitely understand a lot more about this business then they did a couple of years ago. Chris and Tommy were both songwriters the whole time. That was an important part of the band, the competition factor. That's an important part of a lot of bands. A lot of people don't understand that the competitiveness is healthy. Paul guided his songs in a way that they would like them, and that was part of their contribution. I don't think Paul would have done things the way he did without those guys. You know, there are a lot of bands who make it to the point that the Replacements did, where they start to make a living. They think it's not a bad way to make a little money. 'This is not a bad way to go. We'll do whatever we need to do to continue this little gravy train we got going here.' Very often, this thinking helps destroy what you've done. That was never a goal of the Replacements, to become an institution like the Rolling Stones. We were always a little on the edge. T: My understanding is that the couple of times the 'mats did flirt with success was disastrous, like the Tom Petty tour. SD: It wasn't an utter failure. I think part of that is that no matter what part of show business you are, you dream of the next round. To be at the amphitheater status, I think what killed it for us was realizing that this is where we were headed. I think part of what happened to the Replacements is that concerts changed in the last 10 years. They've gotten more predictable. In the early days of the Replacements anything could happen when we walked onto the stage. The night could be a total disaster or it could be a great night. The further you get, the more protected you are and for us it just wasn't fun to play for 15,000 people. They're so far away. Plus, it was the Tom Petty audience that had a lot to do with it. That was not our crowd. When Paul Westerberg stands behind that microphone, there's danger. And when Tom Petty stands behind the mike, you're safe. Paul is one of the greatest 'anger channellers' in the business, but in an artful way. That's not what Tom Petty does. I really don't think it mattered who the band was we opened for. It was a matter of reaching that point in your life where you saw your future. T: I've heard a rumor that Tommy Stinson is being kept under contract to Warners just in case of a reunion. SD: Warner Brothers doesn't let anybody go if they can help it. They have so many artists who really aren't doing anything. A smaller label can't afford to carry someone. They had Tommy under contract; they didn't have anybody else. I think partly for them it's a salvage kind of effort. They put all of this into them and need something to show for it. There's an up and down nature to all careers. Record companies aren't dumb. Someone might be really down right now, but if they let them go they might go on and do something huge for someone else. They don't like that to happen. It's just like football and baseball owners. If they can keep you, they will. They're not going to take a chance. I think in the case of Tommy, they're behind him. I think they hear people talk about the Replacements. They never really understood them, but they hear the respect that keeps the interest in their music. T: Are you surprised at how devoted Replacements fans are? SD: No, because I played with them. I see people all the time that are die hard Replacements fans. Everywhere I play they come see me. The band was together for over 12 years and the people that come up to me are not people that were 22, 23 years old a decade ago. They're people much younger than that that have obviously picked up on it later. That's the power of the music! It continues to draw people. There's a very wonderful intelligence to those songs, and people respond to that. I think some of those songs I'm afraid are classics. Paul was on tour last year, and when he played here he was talking to me about it, he didn't really want to play old Replacements songs. But whenever he'd go into one, there'd be this incredible, thundering applause from the audience. We all knew they were good songs at the time, but a lot of people don't realize some songs live longer than others. Some of Paul's aren't going anywhere; he's stuck with them. (Laughs) I think in a weird way, a band like the Replacements going under the way they did makes the music seem more alive. If the band was still alive, this same phenomenon would still occur but not to the same degree. The band left at a time before it became ugly. I think some bands hang around way too long, not realizing that the music doesn't have to die just because the band dies. Some music sounds really, really good and a week later, it's 'oh, I don't know about that.' I think the fact that a lot of Replacements records, when they came out they got such mixed reviews, that's a real good indicator that something's happening. I've had a lot of people come up to me and say that they thought such and such record was a piece of shit when it came out, but now itÕs their favorite. T: Exile on Main Street is a perfect example. SD: That's a good example. I remember hearing nothing but shit about that when it came out. Right now, to me that's the zenith of the Rolling Stones. T: One thing that shows the sustained interest in the Replacements is the various computer billboards. Are you aware of what's going on there? SD: I've got a buddy that has that and he was showing me that one night. I really think that's a huge factor in the next few years. That's the way a lot of people are discovering new music. The huge bootlegging network that built up when the band was alive tortured the band, because you're talking hundreds of thousands of dollars spent that they couldn't recoup. When we saw some of the sales figures of some of our records and it made us sick when you add up all the unlicensed copies out there. A lot of the really dedicated music fans are broke people. I think a lot of bands are bothered by that, but I think it's a tribute in a weird way. The bands that are getting attention on computer lines are a huge test because people donÕt have to contribute. One band will wonder 'why don't people bootleg us.' You just want to go Ôbecause you don't need to.' I really think in a lot of ways the Replacements weren't a band that didn't play the band game and you kind of took your chances if you liked their music. (Laughs) All the people that tried to shake Paul's hand and he'd snub them and shit, that's their memory of the band. I think as time fades, people tend to forget about those things. It was a hard band to love in it's day. You had to really be dedicated. (Laughs) It was a hard band to be in!! T: The reviews of your first solo album brought up Keith Richards a lot. Is he a huge influence? SD: I've answered this question so many times. I kind of go into autopilot when I answer this. Anytime you talk about influences it's a combination of yes, you're influenced by this person but it's also by being influenced by similar musicians. I'm a little bit younger than Keith; he's got a few decades on me. (Chuckles) But I've met him several times, and we are similar musicians. The role of the rhythmn guitar is a very influential thing in the music I like and the music he likes. The Rolling Stones are, to me at least, Keith Richards. That guitar signature, that's kind of rapidly becoming the mark of 60's rock and roll. The guitar isn't the dominant instrument that it once was. It doesnÕt serve the same purpose anymore. It has a different role in modern music, and that's where I've kind of consciously drawn the line. I try to as much as I can stick to rhythmn guitar based stuff. So there will always be a connection, but that's a connection I'm proud of. I think the strongest influence on Keith was Muddy Waters. Muddy's a huge influence on me. I think he's one of the greats of our century. I listened to Robert Johnson about the same time Keith did, and there's some different grooves that lead to what I do. But to me, I play this thing called rock and roll, and rock and roll to someone 22, 23 is a very different thing then it is to someone 20 years older. I harken back to a different thing, especially on that first record. Maybe not as much on the one I'm working on now. I got kind of sick of that 'hey it sounds like Keith' thing. There's very little Keith on this new one, as a matter of fact. It's a part of me live, and always will be because he's a huge influence. I think Keith Richards, not as a singer/songwriter but as a musician. The wonderful thing about Keith is his use of space and the use of silence. Short, chopped off riffs always perk my ear up more than a guy that has a blazing, smoking sound that he shoves right in your face. John Lennon, though, is who I ultimately idolize. As a songwriter, bar none. As a singer, bar none. As a rhythmn guitar player, there's never been anyone like John. John played with three rather average musicians, and he had to make the rhythm guitar do it all. He had to cover for a weak drummer and a lame guitar player. To me, a song starts with the rhythm guitar. A little riff that kind of doubles up rhythm in your ear. I'm definitely a child of the 60's. It's a huge part of what I do so I'll always live with that connection. But I wear that proudly. T: Tell me about your new album then. Is it about to come out? SD: It was supposed to come out soon but I'm way late on it. I'm working on it. I do a lot of recording at home. A lot of my friends thought with a recording studio at home, I ought to crank one out in three days. (Laughs) It's not that easy. A big part of what happens is when you do a lot of home recording you don't realize that it's difficult to engineer. I planned on having it done by October 15 but I'm nowhere near that. I'll have it done by the end of November. I wish it could come out by Christmas but you're not supposed to put out records in winter. It'll probably come out in March. T: Do you have a title for it yet? SD: I'm not going to give it out. It's a good little play on words. I don't like to give the title way before the record comes out, because then you look so stupid when it's got a different one. T: How does this record sound compared to the first one? SD: My band seems to feel it's similar. It's generally the same basic forms. ItÕs very similar in feel but it has a different approach to it. I recorded it a little bit rougher. The other one was starting to get a little too polished. I had to go on the road so I finished it in a couple of nights. Thank God I did, otherwise that record would have been too slick. This one I'm doing myself, and I'm keeping the edge there. I do a lot of it spontaneously. What I've learned in my years of playing is that if you're thinking about what you're doing there's something wrong. It's been a fun record to do, there's a certain air to it. A lot of records that were ground out sound like it. A lot of people make a record like a movie. I've just never been able to do that. I have more fun this way. I'm not against people taking a lot of time in the studio. A lot of bands, though, get way too careful about their music. I think a good song is a good song, whether it's recorded poorly or really well. A lot of bands are so worried about the outside veneer of something and not so worried about what's inside, which you can't fake or hide. You hear that a lot. You hear a song that sounds really good and you get three lines into the lyrics and you relaize this fucker has absolutely nothing to say. He's got zero to say. It's just all dressed up. It's window dressing. I try to avoid that as much as possible. Whenever I get something and it starts to sound good to my ears, I want to make sure that lyrically it's there. We're seeing a change now. To get top technology you have to spend a quarter of a million dollars. We're seeing a sense that many people don't want that anymore; they don't want an album that took two years and 17 hundred people to make. They'd rather buy something that was made in a couple of days by one guy. What we're talking about here is music made by committee. These bands make tapes as they're going along, and they're guided by the record company. 'Make it a little bit more like this song. Ever heard Sting turn in anything like this?' We're getting music that has less personality in it. To me putting out a record and watching it go right down the tubes with no one giving a fuck about it is actually not that bad of a sign. To me, people liking something or hating it is the same thing. It's a reaction. So many bands read their reviews and think it's great when thereÕs 12 or so reviews that are all positive. I'd much rather have some that say we're shit; old-timey bullshit! I'm trying to make music that is extreme in a weird sort of way. I don't want everyone to like me. I'm not trying to make music that everyone likes. It's boring! To do so is so common denominator that it could have no personality whatsoever. And I'm all about personality. I'm a live performer. I sell my songs live much better than on record. You don't see that much anymore. Most bands just concentrate on the records. They have records that sound really good but when they go out there live they're OK. I like to hear records by bands that are kind of poorly produced and then when you see them live they kick your butt! A lot of bands donÕt realize that when you sing a song constantly live, that time you recorded it was just one time. The best time you do that song might be in front of six people in Bullhunk, OK. I don't think that snapshot of the song has to be the best you ever do. You're never going to be able to predict the best time you do it. Chances are that it's not going to happen in the studio. It's going to happen when some guy just threw a beer bottle and it just missed your head. I'll never reach that level where I'm successful enough at recording that that's all I will do. The only reason I make records is so I can play live. If a record is marginally successful I'm happy. All I want to do is play live. T: That's what I've like about Dylan the last few years. He doesnÕt do the same song the same way every time you see him. SD: I've gone to many Dylan shows where my friends go 'that's 'Mr. Tambourine Man?'' Then you go see somebody that had a huge hit in 1963 and they do it exactly the same as they did it then. That isn't what art's about. You change as a person so you're perspective on the song changes. I think Bob has been disinterested for a good long time. I think the fact that Bob is still a powerful force in music is to his credit. I've been a Dylan fan since day one. I get a lot of people that look down on him. 'You still like Bob Dylan?' He goes up and down with the currents. That's what it's all about. A real musician knows there's going to be good times, and a whole lot of bad times. It's those bad times that give you the material for the good times. There's so many band that you see them one night and they're good, and then you go see them a couple of nights later and it's the same thing. That's not a band! A band is something that reacts to the moment. If it's a crummy night you learn more about the band. These days there's so many tricks to cover for a bad night. A bad night is what's being a musician's all about. Show business doesn't always work. It's a different audience every night and you're same act may go like fucking dynamite tonight but the same act will bomb tomorrow. That doesn't mean change your act, or design it so it doesn't happen again. Too many people worry about what you're doing wrong, but usually you're not doing anything! (Laughs) That's the fun of playing live. That's why I moved the recording out of the studio and tried to incorporate it more into what I do. I enjoy the process. A lot of people want to be musicians for what it can bring them. To me, you have to enjoy being a musician. That's what it's all about. T: There's the classic Pete Townshend line about joining a band to get girls. SD: There's some truth to that in a lot of cases, but in the long haul it won't really keep you moving. Being a musician involves very brief moments of attention and applause and interspersed between them are long moments where there's nobody around. A lot of people are musicians when there's an audience there, but to really be a musician you must be able to just hack it out. A lot of people ask me about writing songs and I tell them the only way to write a hit is to be writing all the time. One day you might be lucky. You can't set out to write a hit. You need to just start writing songs and hope one day you get it. It's a craft, an art. You have to practice it every fucking day. A lot of bands don't understand that. They hear the stories about a hit where the guy goes 'the fucker just wrote itself. I just got a pen in my hand and bang! It came out.' It just doesn't work that way. It's a long unending process and you have to enjoy it. If it's painful and excruciating, you're in the wrong business. There's a lot of things in the music business that many musicians don't understand because they're not fun. That's part of it. To me, you know when you're in the company of a musician. It's a special person that really doesn't get excited about anything. He's been shot down so many times that nothing fazes them. You can walk up to a young band if you're a record company and they'll do anything the company wants them to do. You walk up to a musician and he'll look at the contract and just go 'yeah.' That's what keeps me at this. I'm way too old to be playing rock and roll but I feel rock and roll has nothing to do with age. The day it stops being fun is the day I find something else to do because it's a horrible occupation, there's no doubt about it. There's no reward at the end of the road. There's so many musicians in my age group that are off the road and have nothing to show for it. In many cases they're bitter about that. I'm not bitter. I've enjoyed every performance I've ever given. I'd like to crack out a couple more! And I'm coming out to your town!! -------------------------------------------------------------------------------- Date: Fri, 18 Nov 94 16:13:47 EST From: cford@VNET.IBM.COM Subject: Mats on Prime Time I was watching the trendy "My So Called Life" on TV the other day. This is the prime time show which is devoted to name dropping every band on MTV's "120 Minutes" playlist. It got me thinking that if the Replacements were still around they might benefit from some of this free publicity. Suddenly I remembered the time that the Replacements were mentioned on a prime time sitcom. Back in the late '80s there was a little show called "Charles In Charge." Charles was this unremarkable teenager who wore rock t-shirts ala Garth of "Wayne's World" and was always chasing after older women. In this one episode Charles's middle aged uncle (or some family associate) was in town for a visit. Charles was sort of annoyed that this uncle was trying to be ultra hip. In one scene Charles announces that he will be attending a Replacements concert (I guess this was an attempt to totally loose this bozo uncle), but the uncle comes back with a mini history lesson on the Mats. I almost fell out of my chair. It was a precious prime time moment that I wish I had on tape. Does anybody remember this stellar event? Maybe I have the name of the show wrong, but the episode really happened. Charles Ford -------------------------------------------------------------------------------- Date: Fri, 7 Oct 94 14:24:50 EDT From: cford@VNET.IBM.COM Subject: Burt Reynolds Paul Westerberg must have thought that Burt Reynolds joke in the middle of "Can't Hardly Wait" during his Saturday Night Live performance was pretty funny. I just listened to an audience tape of his 12/15/93 Tampa, Flordia show in which he shouts 'Burt Reynolds' once again during the "Can't Hardly Wait" pause. Only this time he says it straight into the microphone for the audience to plainly hear. Paul makes other SNL references as well during this show. For example, he tells the crowd that Charlton Heston 'thought we were groovy.' Charles Ford -------------------------------------------------------------------------------- From: kathms@aol.com (Kathms) Date: 7 Nov 1994 00:10:07 -0500 Subject: Favorite Replacements lines "If you were a pill, I'd take a handful at my will, and knock you back with something sweet and strong. Yesterday was theirs to say this is their world and their time, but if tonight belongs to you, tomorrow's mine" "Bring your own lampshade, somewhere there's a party...If being afraid is a crime we hang side by side at the swinging party down the line" "I'm the boy they can't ignore, for the first time in my life I'm sure..." "There was liquor on my breath, you were on my mind...If only you were lonely too I'd go home with you..." "Sun keeps rising in the west and I keep on waking fully confused...I could live without so much and die with your reach..." "I'll be home when I'm sleeping....I can't hardly wait..." "Jesus rides beside me, he never buys any smokes. Hurry up hurry up, ain't you had enough of this stuff, ashtray floors, dirty clothes and filthy jokes" "and we're standing in the shadows, forever on the brink, turn it up so I don't have to think" One of the best, from one of the alternate versions of "Can't Hardly Wait": "Climbing to the top of this crummy water tower screaming "I can't hardly wait".... K. -------------------------------------------------------------------------------- Date: Tue, 29 Nov 94 10:38:05 -800 From: Jim Connelly Subject: Replacements Newsgroup I hope this isn't too late to make the latest edition of //Skyway\\, but I want to toss an idea out to everybody. To wit: now that even Prodigy has Usenet access, we need a newsgroup. Those of us on Prodigy and AOL have made some serious friends over the past year or so in their Replacements areas, and it seems only logical to extend this camaderie (sic?) to the entire Net at large! So, I propose creating a group called "alt.fan.mats" . . . "mats" instead of "replacements" cos its easier to type and people who stumble across it will still have an idea what it is . . . "fan" instead of "music" because what makes the Prodigy, AOL and even Skyway so interesting are the fans themselves more so than the music. Sure, we all love the music and will continue to do so, but the actual people who are fans are now far more interesting. It won't be specifically about the band, but rather its fans. This is NOT intended to replace //The Skyway\\. I see it as a day-to-day, nuts and bolts type of thing where 'mats fans can get to know each other as their lives are unfolding, and not as a digest of information about the band. I think Matt's done a helluva job, and it should continue, especially for people who don't wish or can't have the newsgroup. Indeed, it should become a valuable font of information for the e-zine. This IS intended to replace Prodigy and AOL. I bet I'm not the only person who spends money every month on these services just to keep in touch w/ other 'mats fans when I have cheaper Net access. Though, that said, there should be no "domainism" where people put down what other people say just they're from Prodigy or AOL. That's horseshit -- I think of Prodigy and AOL as like gateway services to the harder stuff on the Net. My main problem is that this is only at the idea stage. I have no idea how to actually creat an "alt" newsgroup. I've e-mailed the staff here at hooked.net (my newest hangout), but the response I got was "we don't know, we'll let you know." So, there must be somebody on this list who knows how to create an "alt" newsgroup. If so, please e-mail me and let's set up alt.fan.mats -- it's an idea who's time has come. I don't really care how it happens, or who does it, and I certainly don't want to be in "charge." (God forbid! These are 'mats fans, after all) I just want it to happen. Here are my e-mail addresses: jimconnelly@delphi.com barefoot@hooked.net I check each one every day. Thanks, --jim bare -------------------------------------------------------------------------------- Date: Wed, 30 Nov 1994 23:27:43 -0800 From: Michael Niehoff Subject: FINAL EXAM FINAL EXAM Instructions: Read each question carefully. Answer all questions. Time limit: 2 hours. Begin immediately. History: Describe the history of the Papacy from its origins to the present day, concentrating especially, but not exclusively, on its social, political, economic, religious and philosophical impact on Europe, Asia, America and Africa. Be brief, concise and specific. Medicine: You have been provided with a razor blade, a piece of gauze, and a bottle of scotch. Remove your appendix. Do not suture until you work has been inspected. You have fifteen minutes. Public Speaking: 2500 riot-crazed law students are storming the classroom. Calm them. You may use any ancient language except Latin or Greek. Biology: Create life. Estimate the differences in subsequent human culture if this form of life had developed 500 million years earlier, with special attention to its probable effect on the English Parliamentary System. Prove your thesis. Music: Write a piano concerto. Orchestrate and perform it with flute and drum. You will find a piano under your seat. Physchology: Based on your knowledge of their works, evaluate the emotional stability, degree of adjustment, and repressed frustrations of each of the following: Alexander of Aphrodisis, Rameses II, Hammuarabi. Support your evaluation with quotations from each man's work, making appropriate references. It is not necessary to translate. Sociology: Estimate the sociological problems which might accompany the end of the world. Construct an experiment to test your theory. Engineering: The disassembled parts of a high-powered rifle have been placed on your desk. You will also find an instruction manual, printed in Swahili. In 10 minutes, a hungry bengal tiger will be admitted to the room. Take whatever action you feel necessary. Be prepared to justify your decision. Economics: Develop a realistic plan for refinancing the national debt. Trace the possible effects of your plan in the following areas: Cubism, the Donatist Controversy and the Wave Theory of Light. Outline a method for preventing these effects. Criticize this method from all possible points of view. Point out the deficiencies in your point of view, as demonstrated in your answer to the last question. Political Science: There is a red telephone on the desk beside you. Start World War III. Report at length on its socio-political effects if any. Epistemology: Take a position for or against truth. Prove the validity of your stand. Physics: Explain the nature of matter. Include in your answer an evaluation of the impact of the development of mathematics on science. Philosophy: Sketch the development of human thought. Estimate its significance. Compare with the development of any other kind of thought. General Knowledge: Describe in detail. Be objective and specific. ---===---===---===---===---===---===---===---===---===---===---===---===---===-- --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- || Matthew Tomich || <<>> || || 1111 S. Mulanix #207 || ----> skyway@phoenix.creighton.edu <---- || || Kirksville, Missouri 63501 ||(administrative, contribution, all purpose)|| || (816)-785-4808 ||--==--==--==--==--==-*-==--==--==--==--==--|| || "You are not what you own." || ** Non-Skyway address: ** || || /\\/\\/\ - Fugazi /\\/\\/\\ || i261%nemomus@academic.nemostate.edu || --==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==-- "I'm a punk rock brat and I don't care." (repeat three times) -- Pongo!