______________________________________________________________________________ // // The \\kyway \\ // skyway@novia.net Issue #63 December 6th, 1998 ______________________________________________________________________________ (c) 1998 Bastards of Young (BOY/BetaOmegaYamma) Productions list manager: Matthew Tomich (matt@novia.net) always thanks to: Bob Fulkerson ______________________________________________________________________________ SKYWAY SUBSCRIPTION/LISTSERVER INFORMATION Send all listserver commands in the body of a letter to "majordomo@novia.net" To subscribe to the //Skyway\\: subscribe skyway To unsubscribe from the //Skyway\\: unsubscribe skyway THE //SKYWAY\\ WEB PAGE Check here for back issues, lyrics, discography, and other files. http://www.novia.net/~matt/sky/skyway.html ______________________________________________________________________________ Send submissions to: skyway@novia.net ______________________________________________________________________________ 0. Portland (m@.) I. Stories and stories about songs. (Tony Montesano, K. Hoffman, Tom Tirabasso, X, Jenn, Darren Young, Tomi, Bill Walsh, Mr. Ledge, Brian Wilson [not that Brian Wilson], Charlie Braun, Christene Bazinet) II. Responses from stuff in the last issue (Chris Standish, Dave) III. News About Tommy (Dan Fullick, Peter Kosciewicz, Stephanie Frank, Ashmi/Bill McNie) IV. Etc. (Tony Montesano, Matthew Kelly, Tim DiAna, Steve Smith, Danny) _____________________________________________________________________________ 0. PORTLAND Geeez, this month marks the passing of another local Chapel Hill pal lost to the West Coast. A generation ago, people mourned those they lost in Vietnam. Now it seems like my generation mourns those it loses to the next locale in the perpetual geographic dissatisfaction wheel. After college, with so much mobility and media saturation available, how can you possibly be happy where you're at? Grab your own starting point and follow this line: if you're in you move to to find _____________________________________________________________________________ the Midwest the East something to do all winter besides the bar the East the new South low rent, hilariously plentiful jobs, sunlight the South the West the California mystique, where it's 'at' the West the Northwest lower rent, less cutthroat competition, coffee the Northwest the Midwest cheap rent back at home _____________________________________________________________________________ Let me know if yah think I'm right or wrong on this. m@. _____________________________________________________________________________ latest news: from WHAT'S ONLINE AT HOLLYWOOD AND VINE (Thursday, December 3, 1998) PAUL WESTERBERG: SUICAINE GRATIFACTION Singer, songwriter and guitarist PAUL WESTERBERG is back with a new album, SUICAINE GRATIFACTION, his first for Capitol. It was produced by DON WAS & PAUL WESTERBERG. Of the album, DON WAS says: "It's a rare occasion when you get to make a record that has solidly good writing throughout, where every line has value and there's not a wasted word. I wanted the production to be sonically invisible so that there would be no remnants of the recording process that would get between Paul and the listener." SUICAINE GRATIFACTION was recorded at PAUL's Minneapolis home and in New York and Los Angeles. The album -- a stormy blend of rockers, acoustic guitar ballads and piano-and-vocal songs -- features PAUL on guitars and piano, backed by such esteemed players as Don Was and keyboardist Benmont Tench. The production touches -- a cello, French horn, pedal steel guitar and accordion -- are subtle. When pressed to describe the music on SUICAINE GRATIFACTION, PAUL says "it's fucked-up folk music." Adds DON, "It seemed almost discourteous to clean up the mess after him. It wasn't appropriate for me to litter it with my own personal touches." For WESTERBERG -- known for his "genius for injecting sensitivity into flat-out chaos" (Trouser Press Record Guide) -- it's the song that rules. It's this aesthetic that inspired him to join forces with Don Was, probably best known for producing acclaimed albums for Bob Dylan, Bonnie Raitt and The Rolling Stones. Was' opinion about the songs on SUICAINE GRATIFACTION? "I think people in general can't make records like this because no one writes songs that are this good and direct and that have this kind of integrity." >From his days fronting the legendary Replacements, to his recent solo works -- which include his two critically acclaimed albums, 14 Songs (1993) and Eventually (1996), plus two songs on the soundtrack to the Cameron Crowe film Singles -- PAUL WESTERBERG has always blazed his own uncompromising path. What inspired PAUL WESTERBERG to title the new album SUICAINE GRATIFACTION? "Over the years, I've come up with words that I guess are incorrect but mean something to me," he explains. "I don't want to think about it too deeply other than the fact that it seems wrong, and therefore it's attractive to me." Talking about the album, PAUL says: "This is a dark record -- you'd be hard pressed to find a joke on it, which might be the greatest departure, because there's always at least one joke on my records, but I don't think this one has one." For all the latest on Paul Westerberg visit http://hollywoodandvine.com/paulwesterberg _____________________________________________________________________________ I. STORIES From: "Montesano, Tony" Subject: Westerberg in Chicago July 4, 1996 Date: Fri, 16 Oct 1998 14:59:55 -0700 Maybe this newsletter will help me find a missing picture of Paul Westerberg. Here is the story: On July 4, 1996 Paul Westerberg was giving a free show at the annual WXRT free concert in Grant Park, Chicago. Wilco was the first band, then Paul, then Del Amitri. I was working at Guitar Center, a musical instrument store, at the time and could not get off work in time to see the show. I had a contact at WXRT that got me backstage/VIP seating for the show, and I was arriving while Paul was performing his last tune, "Daydream Believer." I was upset that I missed the show, but I had seen him numerous times before and had a chance to briefly meet him on his way from the stage to his limo. The friend I was with tapped me and said, "Here he comes!" I turned around to meet Paul and shake his hand when before I knew it a camera was in my hand. The guys next to me wanted a picture with Paul so they put their camera in my hands and asked me to take a picture. I said fine as long as they gave me a copy of the picture. I took the picture and Paul was quickly on his way. I did not get to shake Paul's hand or even say hello to him. The only view I had was through a camera lens. I told the guys whose pic I took that I worked at Guitar Center; they knew where it was, and from one 'Mats fan to another they promised that they would drop off a copy of the picture. Well guess what?! No picture. If the guy whose picture I took is reading this, can you please contact me? I am not at Guitar Center anymore, so email or call me. Don't leave me hangin'! Thanks! Tony Montesano Siemens Office Solutions Group Tel: 773-395-0843 Fax: 773-395-0897 anthony.n.montesano@siemenscom.com http://www.siemenscom.com From: KHAH0912@aol.com Date: Sat, 3 Oct 1998 10:32:21 EDT Hello! Been a fan since '86 when I heard "Tim" for the first time the night I graduated from high school. Even through my Sun Country Wine Cooler-induced haze (they were quite popular with the high school crowd back then), I knew that they were something special. Saw them for the first time at Kent State in winter of '88. They played the ramshackle University Auditorium. Imagine. . . the 'Mats playing where I took Psych 101 (very surreal)! Awesome show, even though I didn't think they would make it though it. The Bud's were flowing that night. Paul did a little crowd surfing and I got to hold him up for just a sec - wow! Again, awesome sight. Thanks, K. Hoffman From: "Tom Tirabasso" Date: Tue, 6 Oct 1998 21:08:12 -0500 I first heard "I Will Dare" on a late night radio show called The Big Beat on WXRT in Chicago sometime around 1984. This was a one hour long show that featured indie bands and new music. I happened to tape this one and really liked the song and I remember the DJ saying a lot of good things about the album so I bought "Let it Be" and then got "Hootenanny" about a week later. I never heard anything like it and couldn't get enough. What struck me also, was the cover shot on "Let it Be'. I was an Art and Photography student at the time and I just loved this shot. I remember not knowing who was who and trying to guess which one was the singer. The expression on Tommy's face kills me. The thing about it was that I looked *just like* these guys. I wore the Converse high tops and flannel shirts and could relate like hell to songs like "Answering Machine" and "Treatment Bound". And along with "Color Me Impressed", "Within Your Reach", "Hayday" (I love the a"bark" at the beginning), "Buck Hill" and *everything* on "Let It Be", I was truly inspired. I saw them live three times and have some cool stuff on tape to exchange if anyone's interested. They are my favorite band and I still follow what Paul is up to these days. The guy is a mad genius in my book! Well that's all for now and I would just like to thank Matt and anyone else responsible for the website. Tom Tirabasso Date: Thu, 08 Oct 1998 14:03:48 -0500 From: "A'yin Da'ath" Hi. My name is Christian de Ocejo, and I'm a freshman at Hobart and William Smith Colleges in Geneva, NY. I don't suppose anyone on this list goes to school here, but if you do, look me up and we'll get in touch really quickly (finding Mats fans in this increasingly not-so-alternative/rap/country big-ass sell-out band world is difficult, especially when you're not in Minneapolis). I grew up (from age 12 til now) in Minneapolis, MN, home of our favorite band (as if any of you didn't know where the Mats came from). Anyway, when I first got into high school I was pretty anti-music, mostly because there simply wasn't anything worth listening to. I turned on the radio, it all sounded like crap. MTV was just beginning to switch from grunge to soft-core rap and cheap neo-alternative not-so-punk pop-punk crap. As far as I could tell, music had died sometime during the 70s, and the grunge era was the last breath of the industry before (what seemed like) collapse. Anyway, my sophomore year I got to know this guy named Allan, and slowly got introduced to the Mats. Admittedly, at first I was enormously wary. My premiere purchase was 'Pleased to Meet Me,' and like Mr. Holland in the Opus, I just didn't understand it. So I listened to it again. And again. The problem was that it did nothing but remind me of the 80s, most of which I did not know about being a child, and so it basically connotated to me Reagan, flamboyant materialism, and bad music. I started to collect more of the CDs, though, and began to do a little research. It was pissing me off - what the hell was so special about these guys? They seemed mostly like drunken assholes fucking around in a music store. My 5 year old brother could play better. When I got Let It Be, though, something changed, I guess. Suddenly, I didn't hear the 80s, I didn't hear drunken assholes, Reagan, materialism, bad music and worse clothing... all of a sudden the music kinda connected with the present. Paul was singing about me, now, and the magic happened. The music wasn't trapped by time, it was universal, and amazing that way. When I first 'got' it, I listened to every Mats CD repeatedly for a few months, finally making some kind of contact with the songs. After that, though, it could only go downhill - within two years, my CD collection went from a measly 12 to 247 (my wallet has a permanent hole that way), I was heavily into a ton of new music, and very interested in the local scene (most people here don't realize that Semisonic has been around for a few years and that they had an album before 'Feeling Strangely Fine,' never mind Trip Shakespeare, Matt Wilson and all the rest). Although there were other factors, admittedly, like positive peer pressure, REV105 and Minneapolis' natural local music scene (which is fantastic. I don't care if it seems like it's downhill nowadays, it's always there and there's always a buncha good bands circulating), I have to say that if I hadn't gotten into the Mats, I probably wouldn't give a crap for music. Because of the Mats I have a very deep appreciation for musical integrity - for being able to write good songs, not catchy tunes. There's a big difference between the almost commercial-like jingles of modern pop bands and the Replacements (Care to take the challenge? Buy some Tonic or Third Eye Blind, and listen to it. Then pop in 'Tim' or 'Let it Be.' If you still think the first two are of any worth, then I'll be very surprised). Anyway, that's how I got into the band. I also like Husker Du (how many Mats fans don't?), Semisonic, ska, swing, punk, pop, country-core, some trip-hop (like almost every Minneapolitan, I'm a Soul Coughing fan) and basically anything that's decently good to great. I have a single Replacements bootleg (which, of course, I forgot to bring to college, and have to have sent to me), but am always looking to expand my Mats/Husker Du/Mould bootleg collection (somehow... if anyone wants to trade Phish bootlegs for Mats, I can steal some from my room-mate I suppose). X 'How can hate be destroyed without destroying it's causes?' - Raoul Vaneigem, _The Revolution of Everyday Life_ From: Jenn9e@aol.com Date: Fri, 9 Oct 1998 04:15:20 EDT Subject: introducing me, jenn It's too late for me to be sitting here typing this. Me and my bad habits. And honestly, I do feel quite tired, but, um, it's not a physical thing. I've spent the whole day thinking more than I should, and the end result, one of 'em anyway, is perhaps a state of mind in which I may come somewhat close to adequately expressing my affection for the Replacements. But probably not, since I've tried to write this introduction-to-me multiple times since I first started reading Skyway a couple years ago in college, and I've never come up with anything which survives the delete button the next day. So maybe the key is to just pour it all out and hit send right away so I don't have time to second-guess myself. Damn those tendencies of mine. Even if this is the right state of mind, I'm still not sure if I can do it. Words have always sort of been my thing but when it comes to talking about things that I really really love, they tend to fail me. Like the 'Mats. Which I guess is my excuse if all I do this whole letter is ramble vaguely. Because I do really really love the 'Mats. Okay, I'm giving the story a go, as so many others of you have done before me. I just hope it comes out okay. Apologies in advance for the length. I can't remember the first time I ever heard of the Replacements. I grew up with older sisters who always played music, although none of them are fans. However, round about junior high, read 1987/88, I decided that music would be my world. I don't know, actually, if it's fair of me to characterize it as a rational sort of decision. Entering adolescence, feeling lonely and freaky and fucked-up, I sort of just fell into it. Who can't utter that story as their own? So I started listening to the radio obsessively, (not that it helped much because radio stations in Columbus, OH circa 1987 was pretty dismal -- and is only slightly less so now), spending whatever amount of money I obtained on music and reading all the music rags. Anyway, it all started me on a path I've yet to stray from. And at some point in all of this I became aware of the Replacements. I'd read mentions of them and heard a song or two. And it was all enough to make me think, "wow, those guys sound cool . . . I bet I'd dig 'em . . . I should buy one of their albums." But it was never enough to spurn me into action. So they came and went and I was nary the wiser. I probably heard about it when they broke up, and gave it a momentary thought, but not much more. Time passes, and I obsess over numerous bands and artists that time has proven unworthy of my affection. "Singles" comes out and I get the soundtrack and like Paul's songs. Momentary thoughts, "He was a Replacement. Really ought to listen . . . " But never did. So then high school's over, I feel less like a misfit and go off to college. Actually, I don't go off to college. I stay at home and go to OSU. It is alternately good and bad. This figuring your life out shit -- whose idea was that? I think I'm okay for a while, but come to this point sophomore or junior year where . . . well, if I thought I knew what is was like to feel fucked up at thirteen it was nothing to feeling the same way at twenty. And, finally, it was at this time in my life I was browsing the used bin at the crappy corporate record store by my house, which sucks mostly and overprices everything, but where you can get decent used stuff cheap because all the kids in the pseudo-suburban neighborhood have bad musical taste, that I found Pleased to Meet Me for five dollars. That little voice. "Oh yeah, the Replacements. They're supposed to be cool." So plunked down the cash. I have no idea what else I bought that day. Doesn't matter, because as soon as I heard it, well, nothing else existed. I don't want to say that the album changed my life, although I have used that expression before when trying to explain the 'Mats. But it's a cliche, and honestly, it's not even true. Because hearing the Replacements didn't give me the answers, it just gave me a soundtrack. And a means of expression that I didn't have before, because suddenly there was this band and when Paul sang the lyrics and the other guys played their instruments, they were able to say and express all of the things that I couldn't. Honestly, there were days when I come home from school or work or wherever and the only thing keeping me on this side of sanity was the ability to throw on "Let it Be" or "Tim" (or "Hootenanny" or . . .). Oh yeah, after PTMM I was hooked, obviously, and set about acquiring almost all of the other stuff. Not rapidly though, because, again with things I love, but are of limited quantity, I like to savor and I don't want to come to this point where I'll never experience it for the first time again. In other words, I go slowly because I hate coming to the point where there's nothing new for me left to hear; no more thrill-of-the-first-hearing. That's why I still haven't bought "Sorry Ma . . .," because for so long the thought was once I buy it, that's all there is. But then someone pointed out bootlegs and the live shows floating around to me, so here's the deal . . . I promise to go buy "Sorry Ma" if you kind souls start making me offers, even though I have little to give in return. (fingers crossed) Um, I guess that's all. I know it's long, not so extraordinary, but . . . Oh, I did see Paul last tour and it was lovely, even if my friend Rachel wouldn't let me go stand in the front row. I like his solo stuff and what everyone else has done, post-band, but none of it comes close to representing what they were as a band means to me. My favorite album changes, depending on what's happening in my life. Lately I've been listening to "Hootenanny" a lot. I don't know what that says about the me-of- right-now. Favorite songs . . . I couldn't even begin. Other bands, your typical indie-rock hipsters and a host of sentimental favorites. Ask if you're really curious. Oh yeah, right now I'm 23, living in Columbus, working at the library and still trying to figure out the whole life thing. Those of you with answers or just a desire for rambling of this type to fill your own personal mailbox, send your notes, desires, means of contact . . . bye from jenn Date: Tue, 13 Oct 1998 15:32:59 -0500 From: DARREN YOUNG I've been into the Replacements since high school (I graduated in '89) and still have the first album I ever bought of theirs - a cassette copy of 'Let It Be,' which is older than dirt but still plays. When I moved to Nevada from Indiana earlier this year (I've since moved back) 'Let It Be' and 'Tim' kept me company for much of the way. I also love (old) Soul Asylum, Husker Du and the Descendents. All very influential on me. Not to mention countless other bands, both new and old, but I prefer the older stuff (from the early 90's on back to the 40's... old blues and stuff like that). It was especially cool to get a hold of lyrics from my fave Mats' records, mostly 'Let It Be' because I could never understand half of what Paul was singing. I play out acoustically a lot by myself and with my mate Griff. I've been known to do versions of "Here Comes A Regular," "Skyway," "Waitress In the Sky" (one time while in Vegas, this lady-who used to be one-kinda got a little offended when I played that, but I told her it 'twas nothin' personal), "Can't Hardly Wait" and "Unsatisfied." sincerely, Darren R. Young (my friends call me DRY, but that has nothin' to do with sobriety) From: "Roberty D Kier" Subject: Ruminations on the Replacements and Paul Westerberg Date: Sat, 17 Oct 1998 00:37:31 -0700 Some people track their personal history through songs that were popular at a particular time. I lost my virginity to "Young American" by Bowie. I then suffered silently though an ill-fated first marriage against a backdrop of music touting free love. Jeez, what Timing. I believe I was the only person having bad sex at this particular time in world history, though I could be wrong. I became single and entirely confused at the age of twenty two -- I was back to being someone's daughter -- no longer a wife. What the hell was I gonna do? I got drunk a lot, and vaguely remember calling an old friend on the night John Lennon was shot. Other than that, until I decided to manage a punk band called "The Wounded", there isn't much that I care to recall. I found some sense of myself in the managing of these guys, and fell in love for the first time with Lance, their sound guy. Whatever vibe I had going on at the time worked in the band's favor (Drew, the primary songwriter and lead singer of the band says it was a combination of a maternal mother earth kinda thing coupled with a business shark kind of thing). I had advice for the A&R guy who was dealing with an all-girl band (who shall remain nameless, but they "walked like people might if they were from the middle-east"). I had a great garlic bread recipe for the bouncer at Madame Wong's In Los Angeles, and talked the band's pay out of many a bar owner. I was kinda-sorta cool for the first time in my life, and digging every minute of it. It was the mid-eighties. In addition to managing the Wounded, I was co-owner of an edgy public relations firm located above Paragary's in Sacramento. And then the maternal thing really kicked in. It wasn't the normal biological clock thing I'd heard about. Most of the women I knew got it bad when they met a particular man. It hit me at a Replacements' sound check. Imagine my horror. The Wounded opened for the Replacements in Fresno at the Star Palace on Halloween. The Replacements were all present for the check, but only Tommy Stinson was up on the stage playing all the instruments. Our sound guy (my lover at the time) slammed his considerable hands (he was 6'7", and huge, but wore a string of pearls, I think, in the hopes that people wouldn't be afraid of him), down on the soundboard and stormed out of the venue. The rest of us were transfixed. We had been eatinglivingdrinking "Let It Be" and couldn't believe that we were breathing the same air. And then it happened. Bobby Stinson slid into the seat next to me. He was tired, drunk, or both -- I couldn't really tell. He was profoundly sad. I had heard about the Mats gig the night before in Davis, CA. I don't think they were arrested, but I remember that I was surprised that they made it to Fresno the next day. I wasn't sure if I should talk to Bobby -- his reputation totally preceded him. There was some mundane chat, and then I felt comfortable enough to ask him about the show in Davis. He was about as contrite a human being as I'd ever witnessed in my twenty-five years. "I don't think I should talk about that," he said rather sheepishly. I assured him that everything was O.K. -- he was in Fresno where the kids worshipped the Mats. He wasn't so sure. "What if we fuck-up again tonight -- what'll they do?" And then it hit me. I felt maternal for the first time in my life. Egads. I again, told him I knew everything would be fine, and ended with, "really, it's O.K., Bobby." He then said something that stuck with me for a long time. He said "You can call me Robert. My mom calls be Robert when I'm in trouble. You know she misses me and Tommy, but she's really just glad we're not in jail somewhere..." It wasn't a "youcanbemymommyandspankmeI'vebeenabadboy" kind of thing. Then I had a Paul Westerberg moment. Sound guy/lover Lance returned to the venue to check the Wounded (Wiretrain was on the same bill for anyone who's interested). They were quite relieved that the Mats had left, and had a pretty relaxed check. They couldn't see what I saw. I saw Paul Westerberg way in the back of the venue with a bottle of whiskey, smoking and carefully listening to every note. He could have easily been drinking with the rest of the band, or talking to an ample bounty of farm-fed beauties waiting outside for a glimpse of his rumpled self. Needless to say, I was duly impressed by Paul's attention, and had a bad hankerin' for a baby after talking with Bobby. They pretty much kicked ass that night -- both the Wounded and the Replacements (and who remembers Wiretrain?) I don't recall much about the show -- only that the Replacements did not disappoint (except they were not faithful to "Answering Machine" which totally crushed the Wounded bass player, Mike). I also vaguely remember what seemed like the entire group, with as many girls, literally falling out of their dressing room into the hall with bottles smashing and rolling. I must of looked surprised or something, because Paul looked up at me from the floor, and said "Sorry!" >From that night on, the Replacements music became my own personal soundtrack. I worked at a rock and roll radio station in Sacramento for some years, all the while lobbying for the PD to program the Replacements, but to no avail. Although I will always remember fondly turning the air staff on to "Alex Chilton" during afternoon drive in studio B, and watching the jock on the air in studio A try to figure out what the hell it was we were all dancing our asses off to, and why some of the staff had their hands over their ears. It was one of the few times they let me control the volume. The engineer muttered for days about how I had caused the hamster to fall off the wheel, and now he had to fix poor Studio B. I played that cut off of a sort-of bootlegged version of "Pleased to Meet Me" that I had extorted out of our Warner Brother's rep. I saw the Mats when I could, and held out hope that the rest of the world would catch on someday. I fell in love for the second time with the friend I had called the night John Lennon died. Quit my radio gig, and moved to Sausalito. Not long thereafter, Virgin Records needed a new rep for Northern California. They called, and I went in, as requested, for an interview on the day that President Bush drew a line in the sand in the Persian Gulf. Needless to say, it wasn't my best interview. I mean, I walk into this fancy schmancy hotel room at the Mark Hopkins, and here are all these guys who are supposed to represent the best and the brightest of the alternative scene at the time. My eyes were red-rimmed because I sat in the parking structure to finish listening to Lenny Kravitz and Sean Lennon's version of "Give Peace A Chance", which coincidentally, was released THAT DAY on Virgin records. And here I was, crankily answering questions about how I would deal with a difficult Program Director. Hello. There's a war starting. Anybody care? Your own label made a pretty hefty statement with the release of the song I was just crying to. ANYBODY HOME? Who's my favorite band? No hesitation...The Replacements. One of these slickey-boys sez to me, "Oh yeah? Their playin' here tonight...Wanna go?" I don't think I said "You suck.", but I do remember telling them they should be home with their families, the music business was a vacuum, the Replacements wouldn't want me at their show, and I was going home instead to my husband--that we were going to dig our heels in hoping the world wouldn't come to a crashing end. Turns out I was a tad over the top because I was ovulating. We made one helluva baby that night. So, even though I missed the last chance to see "my band", it all came out O.K. in the end. About three and a half years after I had that 11 pound 1 ounce sucker, I enrolled him in a nursery school co-op (this is the bay area -- peace man). He received a baby version of a tape player from his grandmother, and I had given him a bunch of old tapes to play in it, in addition to the kiddie tapes that permeated every crevice of the house. One day I drove up to school, and Will demanded to take his tape player into school -- he wanted to play a tape for his friends. Personal toys were discouraged, but it was my work day at the co-op (if I ever have to go through the "Justinis really hurt by what you did Emma. You must have been pretty mad. Justin, how did it make you feel when Emma threw sand in your direction? Bad? Hmmm. Emma is there maybe another way to express your anger towards Justin? Use your words? Yes, very good Emma, you could use your words." I'll blow a gasket). Anyway, my son bursts through the gate, and much to my amazement, he yells, "Now THIS is Rock and Roll". Three- and- half, let me remind you. He then pushes "play" on his little tape player, and out blasts "Bastards of Young". Is this kid mine, or what? I had no idea he had the tape. I wasn't really embarrassed, it was more like confused. My first maternal feelings were wrapped up in that guitar riff by that guy who was now no longer of this world, and here was my kid playing it for all the world to hear. What else was there to do? I went out and bought Paul Westerberg's new CD, and of course loved it. I kicked my husband and child out of the house, and sewed a quilt that graces my dining room wall to "14 Songs". I remembered my husband at age fourteen every time I heard the song "First Glimmer". (Much to my dismay, my husband "doesn't get" the Replacements. This is one of those things that creeps up on you in your darkest hours -- you're saying to yourself, "who is this person I married? He doesn't even GET the Replacements? Good Lord, what have I done?") Around 1996, Paul Westerberg released "Eventually". On that CD is the song "A Good Day". My Dad was diagnosed with Lou Gherig's disease that year. He died in March of this year. It ain't been easy. Seems I couldn't swing a dead cat without hitting someone else who was on antidepressants. And then we get hooked up to the net. The first place I go is a Web page devoted entirely to Paul Westerberg, and see that there is a Replacements compilation. (I also download the PSYCHOPHARMOCOLGY track from Grandpa Boy -- jeez life's strange, huh? Once again, the soundtrack to my life). I kicked out my son and husband one weekend -- made 'em go fishing. I bought the Replacement's compilation and a bottle of wine, and for a coupla hours I wasn't my poor dead Dad's daughter, my husband's wife, nor my son's mother. I was me, shaking my considerable forty-year-old ass just north of San Francisco, and hopefully freaking-out the neighbors by the sheer volume of it all. Life is good. From: "William Walsh" Date: Tue, 20 Oct 1998 20:12:26 -0500 Geez, I don't know where to start on The Replacements. I'll start out with the customary "where did I first hear them" story. I was in college at the time, in musically bankrupt Green Bay, WI. The closest thing to cutting-edge music up in Packerland was "Steve Miller's Greatest Hits." Hailing from Chicago, I thought of myself as a savvy music listener, with a keen ear for new music (i.e., buying the "Just Say Yes" compilations on Sire, etc..). Actually, I had brought up an arsenal of music with me to school to act as a bridge until the next time I could come home and replenish. At the time I was listening to U2 and Wales favorite sons, The Alarm (I know, don't laugh). I was a late-comer to the Mats "party". The first song I heard was "Alex Chilton" at a party (strangely enough?). I was absolutely floored!!! The last time a song jilted me like that was in 1982 when I first heard the Sex Pistols. I ran up to the guy working the stereo & asked him who was playing & he replied "The Replacements". I made him play the song again. Next day I ran out & picked up "Pleased to Meet Me" and had an epiphany. I played that cassette until it was barely audible. The album is still my favorite Mats album & fave all-time album. It's been over 10 years since its release & I still get a lift when I hear the riff to 'Valentine'. It's a masterpiece and I'm sure that if it was released today, it would be huge. >From there I went out & got "Tim", then "Hoot", then "Let it Be" I got my friends into the Mats as well. Do to the wonders of CD burning & MP3, I have embarked on a new dimension of Mats collecting. Maybe someday they will get back together for a few shows (after Tommy gets out of Guns N'Roses & Paul quits making half-a-sissy music). One can only hope. Thanks for letting me share, it was cathartic. Bill Walsh From: OTheLedgeO@aol.com Date: Sat, 24 Oct 1998 00:06:31 EDT Subject: new orleans mats fans are there any new orleans are fans out there? i'm a student at tulane and would love to meet up with some other fans! if you exist please write me at otheledgeo@aol.com From: "Brian Wilson" Subject: My recent experience with The Replacements Date: Thu, 29 Oct 1998 11:02:49 -0500 First of all my name is Brian Wilson, I am the brother of Tiffany Wilson who is also a subscriber of Skyway. I am 17 years old. My sister got me into The Replacements with her buying the Singles soundtrack, and then buying the albums after that. Anyway, on to my story... I am a student at Clarkson University, a terrible school in very upstate NY. I am miserable here, and life up to here has not been that great either, and October 29 I was sitting at my computer at about 9 am and I decided to visit the Skyway home page. I had not been there for a couple of months, and i wanted to look at chords and tabs. I went to the home page and started remembering all of the times i had listened to the Replacements, and how much the music meant to me, and I started crying. So immediately wanted to listen to the Replacements. So dragged out my copy of Tim and listened to that. While listening to that I realized that the Replacements were my favorite band of all time. At this point I lit another cigarette (I was chain smoking by now). I realized the impact a band can have on someone when I heard my 2 favorite songs by the Replacements, Bastards of Young and Left of the Dial, and I realized that I probably would be dead by now without them. It is something very comforting in life to know that people feel the same that you do and that they went through the same things that you are. I'm sorry, but I just had to bear my soul, and now as I listen to Sixteen Blue, I will end this now. Thank you for listening. Brian Wilson Date: Sun, 01 Nov 1998 10:09:12 -0600 From: CBraun@marion.k12.ia.us (Braun, Charlie) Well, even though it seems silly, I thought I'd write and let you know of a couple of dates that are missing from your shows page. My memory is not good for exact dates, but I'm sure of the years, the months, and the places. I was a sophomore in college the first time The Replacements came to town. I was attending the University of Iowa in Iowa City when they came to Amelia's there in the fall of '86. This show is listed on your page. I was unable to attend the show because I had five papers due all on the same day I remember. I vowed to see them the next time they came around. First time I saw The Replacements live was at The Call Ballroom in Davenport, IA. It was in the fall of '87. I can't remember the month for this one, but I remember it was kind of chilly and I was wearing a sweater. May've been the first week of November. November 9th rings a bell. I remember I was with a friend who had brought his girlfriend along. At one point in the evening this friend of mine was using a urinal in the restroom when Tommy Stinson walked in and stood next to him to relieve himself as well. My friend asked him if they were going to play any Kiss covers. Tommy replied, "Yeah, well.....only if you let me kiss your girlfriend." Then, for the rest of the night, anytime my friend stood in Tommy's line of sight with his girlfriend he would ask him if he could kiss her. Another girl I was with, who was a real fun party gal, accidentally walked into The Replacements waiting room trying to find a beer. There they all were, sitting in front of a large table full of deli trays and iced beer. She was embarrassed, but still asked for a beer. They replied that she could have one but only if they could grab her ass. Paul, apologized for the band's crassness and handed her one of his Heinekens and sent her on her way. I also remember that I was waiting for the show to start and realized that I hadn't thought to call my brother Chris, who was attending a college in south central Iowa, and ask him along. A serious oversight. So, in a lame attempt to appease him, I walked over and asked Paul to write something for him. I remember that others were asking for the band's autographs and every time they were handed a slip of something to write their John Hancock on the first thing they would do was flip the paper over to see what they were writing on. Perhaps they were curious, looking for some personal piece of information about the lives of the people they were giving an autograph to. Or maybe they were worried that they might be signing their lives away to somebody - "I'm losing all I own on that dotted line." Anyway, I remember I handed Paul an ATM receipt. He flipped it over to learn that I only had 30 bucks left in my checking account. When he saw that I had spent some of my last 40 dollars on him his face softened and he was very kind to me. I remember he wrote on the slip "Christopher - where is ya?" The next time I saw The Replacements was in Cedar Rapids, Iowa at The Paramount Theater in mid May of 1989. Your shows page lists The Replacements as playing at The Paramount Theater on May 15th 1989 in Seattle, WA. I believe this is probably supposed to be the C.R. show I attended. I remember the band was not happy about playing in a fancy old theater with ornately carved and polychromed ceilings and mezzanines. There was no beer served and body guards lined the stage to prevent people from standing up, dancing, or standing in the aisles. Martial law. Paul kept trying to incite us to out number the body guards and win out, but the body guards won. At one point he grabbed his mic and stand and put it down in the aisle right next me and my friends. The body guards tried to prevent him from doing so with Paul bellowing into the mic "Uh oh! We can't do this!" Then he started playing "I Don't Know." I elbowed my friends and told them that we needed to shout "I don't know" into his mic at the appropriate parts. So we all grabbed the mic and did so. At first Paul flinched a little thinking we were going to take his mic. Then when he saw that we were just helping him sing backup the expression on his face was one that read "Oh, yeah. Hey, that's a good idea." Later we were all sitting obediently in our chairs rocking back and forth to the music. Paul went back stage, grabbed a chair, sat down and started rocking back and forth in it during the song just like the audience was. Making fun. Then he stood on the chair singing "Cruella DeVille." He kept pulling the mic stand up so that it would reach him but it was about an inch too short and every time the top half of the stand would slide out of the bottom half he would shout into the mic "Freddie Mercury!" This amused me. Then he proceeded to balance on one foot and fall on his ass. He was moderately drunk, of course. At one point he told the audience if they wanted them to play "Fuck School" they were going to have to throw money up on stage. For the entire next song the balcony rained quarters, pennies, dimes, nickels, crumpled dollar bills, packs of Marlboros, Tic Tacs and any other items that people had in their pockets. After the show the band crossed the street to drink in a bar that existed at the time in downtown C.R. called Spanky's. While crossing the street one of their managers was hit by a car, or so I'm told. Spanky's was eventually closed for serving minors. And the last time I saw The Replacements was at The Call in Davenport again on I think June 19th or 20th of 1991, several weeks before they broke up. No funny stories for this one. All I can say is it was probably the best show I've ever seen. The band was hot - and sober. I never saw any of them drinking. They played all songs from beginning to end and Paul was fierce. He sang like he was never going to be able to sing again. Gave me goosebumps it was so damned good. I remember they rocked the hell out of "Happy Town" complete with a rock and roll scream from Paul at the bridge. I also remember that the opening band, Joe Burton and the Hiccups, had this guitar player who would play a piece of about 30 different rock and roll classics in the middle of one of their songs. When The Replacements were playing "Talent Show" and they got to the part where it stops for a few seconds Paul said "Am I going to have to get Phil up here to play 500 fucking guitar solos?" and then he kicked started the last part of the song by playing the intro to Chuck Berry's "Johnnie B. Goode" which is in the same key as "Talent Show" (key of A.) Nice page. Hope you enjoyed the anecdotes, Zoot [Note: the aforementioned list is a list of known recorded Replacements shows, not a complete 'Mats show list, although that would be pretty snazzy. But until somebody whips that up, you can see Bill Ruef's thoughtfully and newly updated list at http://www.novia.net/~matt/sky/shows.txt - m@.] Date: Sun, 8 Nov 1998 14:32:22 -0800 (PST) From: Christene Bazinet Hi. I'm Christene from Minneapolis, born and raised. I always thought I was the biggest Mats fan alive, but I have now since realized there are many more all around the world. I am 27 and have never seen the Replacements live. I have seen Tommy at the Uptown twice, and both times I was disappointed. The second time I heckled him about his rented guitar. He seemed lost onstage by himself. But I guess the more I drank, the better he sounded. I was just in awe being in the presence of such a legend. Anyway, I was a punk growing up listening to Minor Threat, Black Flag, the Pistols, Dead Kennedys, etc. I hung out at Northern Lights music store on 7th Street and Hennepin. I was a skateboarder and hung out with a lot of misfits who had no place to go. We smoked clove cigarettes and tried to get people to buy us booze. We went to a lot of parties at a Pagan house right next door to the CC Club (it was in the same building, and some guy rented the place and had parties there all the time...I remember it being very black and very smoky). I also hung out in an abandoned building right by the cop shop downtown, where a lot of bands had practice spaces. I don't recall the exact address, but we would hangout on the window ledges, get high and drunk and party to the bands practicing. Anyone familiar with these two places, send me an email. I have seen a lot of cool bands in my time at 7th Street Entry, my personal favorite venue because it's so "up close and personal" and very loud and exciting. First Avenue is okay. I have seen the Lemonheads, Soul Asylum, Babes in Toyland, The Wallflowers, and many many more bands there. I truly dig the 400 Bar where I often see Run Westy Run. I saw Whiskeytown there too, who rock. Anyway, I just wanted to introduce myself and let you know I spent over 3 weeks, almost 6 hours a day reading the Skyway back issues. Rather than get caught on the internet at work, I printed them out. It took about 2 reams of paper, and I felt weird carrying it around all the time, but I couldn't put the damn thing down. I laughed, I cried, I got pissed and related to so many other people who have written in. If ever someone asked me to describe my life, I would give them the Replacements. That says it all. Take care and thanks for the memories... _____________________________________________________________________________ II. RESPONSES TO STUFF FROM THE LAST ISSUE From: Chris_Standish@timeinc.com Date: Wed, 7 Oct 1998 14:30:36 -0400 Subject: Irresponsible yes, but not an asshole That story Jimmy Mac told on the Skyway only supports Bob's status as the last one to be inhabited by the true spirit of rock. It's not about showing up on time like a nine-to-fiver, that's why people do it, to escape that. It's all about being an underdog, a hero and yes, a complete fuck-up. I don't disagree with your assessment of the situation of Gene and Paul, I mean Tommy and Paul, firing him. They have their own lives to live and choices to make. But I do disagree with your un-cannonizing him and calling him an irresponsible asshole. Irresponsible yes, but not an asshole. He embodies the true spirit of Rock and Roll. Your brilliant story proves this. Thanx, luvDish From: DaveD52857@aol.com Date: Thu, 15 Oct 1998 19:56:24 EDT Subject: One more Goo Goo Review Here's another tepid review of the Goo Goo Dolls "Dizzy Up The Girl" from today's Erie (PA) Morning News. I at one time really liked this band. I would have told you in 1991 that they were the heir apparents to the Mats after they were gone. However, since then every album they've made since "Hold Me Up" has gotten more and more commercial and predictable, culminating in the so-so "Dizzy". Anyway, here it goes, I think you'll find plenty of Mats references. BTW this album got ** out of 4 stars. Enjoy, Dave (printed without permission) Stepping from the shadows: Goo Goo Dolls and Rancid put distance between them and the bands they've been long compared to. But only one nails it. Publication date: 10-15-98 By Dr. Rock Fill in the blank time: Imitation is the sincerest form of what? Flattery? Plagiarism? Scientific cloning? Depends on the situation. Imitation cologne can smell as sweet as the real thing. Imitation beer is generally putrid. And on Halloween night, who cares? Imitation is the whole point. In rock, though, you gotta be careful. Some bands take their influences and assimilate them into something new, something different. Others never make that leap. They simply sound like a warmed-over rehash of what came before. Today's bands have been dogged with comparisons for ages. Goo Goo Dolls equal Replacements redux; Rancid equals Clash clone, though the former takes more heat than the latter. Both step from the shadow of their heroes on new releases, but only one does so in a dazzling, exciting way. That band is not the Goo Goo Dolls. The Doc held high hopes for "Dizzy Up the Girl" because (A) rock and roll is in the dumps and needs a monster new release, (B) they're playing Penn State-Behrend next month, and (C) they're from nearby Buffalo. It'd be nice if he could jump up and down and shout from rooftops about how much he loves their new CD, but he'd be lying like Nixon. And Goo Goo Dolls don't like lying, as "Dizzy Up the Girl" makes clear. Seems as if half the tracks involve deception and lies, either self-inflicted or delivered from significant others or parents. Like most their other albums, Goo Goo Dolls spend a lot of time wallowing in despair and misery. Nobody understands. People reach out but have trouble connecting. They're lost, lonely, confused, melancholic. Dizzy. If only they'd listen. If only they'd own up to their faults, wake up, smell the Folgers. Main songwriter Johnny Rzeznik always holds out hope, though, which prevents Goo Goo Dolls from depressing you to death. It's earnest stuff to be sure, but a bit stale, by now, not to mention emotionally narrow. Since making a name for themselves with "Name," Goo Goo Dolls have spiffed themselves up and the music, too, which doesn't help matters here. "Dizzy Up the Girl" produced by Rob Cavallo (Green Day) presents 13 fresh-scrubbed pop-punk nuggets, if you define punk as wall-of-guitar fuzz with vocals half-buried in the mix. Where Goo Goo Dolls outshine Replacements is in the hook department. While the Mats were open-wound raw and dirty, Goo Goo Dolls write catchy choruses and imbue songs like "Dizzy" and "Slide" with tuneful melodies. Those two along with the unavoidable "Iris," which ruled radio all summer are the best cuts here. "Slide," with its itchy, acoustic / electric blend and ringing melody, is especially irresistible, another surefire hit. On the slower songs all of "em with somber, swelling strings, of course Goo Goo Dolls come dangerously close to the type of cliched, melodramatic ballads that Poison and Whitesnake specialized in the best-forgotten 1980s. As ear candy, this works. But a little goes a long way; there's a sameness to it. The Doc wishes the rockers had more bite or sense of desperation. What made the Mats special was their careening, out-of-control urgency, a teetering on-the-ledge electricity. Goo Goo Dolls have "matured" their way off that edge, but they've retreated to a safer, boring place. The more this played, the more the Doc realized how predictable and occasionally bland it is. If this is where the Replacements were headed, he's glad they broke up when they did. _____________________________________________________________________________ III. TOMMY NEWS Date: Mon, 19 Oct 1998 17:09:52 -0500 From: DAN FULLICK Subject: Incredible band including members of Perfect Marc Soloman, guitar player for perfect, has a very cool band called "Clumsy" It's an energetic four-piece, three of whom were in Perfect. Now that Tommy has signed his deal with Guns n' Roses and has been released from his deal with Restless after the company chose not to release the new album which they spent over $180,000 on, Clumsy is the remaining pieces of Perfect, minus the drummer. Marc is the principle singer/songwriter and plays rhythm guitar. Need info? email: wingtip@doolittle.com Date: Thu, 29 Oct 1998 13:22:39 -0600 From: Peter Kosciewicz >From the Dallas Observer, Oct. 29, 1998 Exhibit No. 234,449 that the apocalypse is upon us: Tommy Stinson, ex of the Replacements (the greatest rock-and-roll band of all time, at least till they sobered up), is now the bassist for Guns N' Roses. It is a fact, no longer just whispered rumors circulating among the few remaining fanatics who hope that one day Paul Westerberg will fall off the wagon, remember that he doesn't have to suck, apologize to Chris Mars, and rehire the only band that matters. How do we know this, despite the so-called "gag order" surrounding the band? Because Marc Solomon, the Booker T. Washington High School graduate (and my former Hebrew-school classmate), tells us so. "Tommy was being wooed by Guns N' Roses, and [bassist] Duff [McKagan] decided he would give them a couple of months, but he had prior commitments. It was a friendly parting, but they needed a bassist, so Tommy's now in the band." Unbefuckinglievable. As a result, the long-completed full-length debut from Perfect; the band featuring Stinson, Solomon, and bassist Robert Cooper (another Dallas boy), will likely never be released. Solomon explains that once Stinson joined GN'R, the honchos at Restless Records, Perfect's label, decided they didn't have much interest in putting more money into the record if Stinson wasn't going to be around to tour behind it. To make matters worse, Peter Jesperson (the man who discovered the Replacements and signed the band to his Twin/Tone label) became frustrated with Restless' decision and dropped off the project as well. So now the disc (produced by Jim Dickinson, who helmed the Mats' masterpiece Pleased to Meet Me) sits on the shelf, abandoned. "The record is done, ready to go, and I bet it never sees the light of day," Solomon says. "It's unbelievable. We made a good record. I mean, they [Restless] spent more than they should have spent, and it was cool. I enjoy putting it on and listening to it. I think songwise Perfect came into their own, but Restless has decided they don't want it anymore. Our manager wanted to know if we could shop the record around, and Restless said that was fine, but the price was so fucking high, it's not going to happen." As a result, Solomon and Cooper have formed their own band, Clumsy. It began as its own side project amongst roommates: Solomon, Cooper, Mike Malinin (ex of Last Rites, currently in the Goo Goo Dolls), and another rock-and-roll buddy all share an apartment in Los Angeles, which is usually a good deal, since at least one of the roomies is always on tour. But one day, the four of them found themselves at home at the same time and discovered how quickly they can get on each other's nerves. So they decided to find a studio and begin recording songs Solomon had begun writing; soon enough, they made a few tapes and gave them out to friends in the biz (which is, like, everyone in L.A.). But Malinin was too busy with the Goo Goo Dolls to make Clumsy a full-time project, so Solomon and Cooper added and subtracted a few members, and boom, a new band was born. Solomon has also been writing and recording some with another childhood buddy and Arts Magnet classmate, Aaron Comess, the drummer for Spin Doctors (who, believe it or not, have actually been signed to another label, Universal). "The Timing of it was great for me, because it was like, 'All right, am I quitting [Perfect]?'" Solomon says. "Puff Daddy ain't calling me. It's gone well. I'm happy, and I love singing and writing. It's great it happened the way it did...I'm just taking the motor [from Perfect]. Clumsy is just more pop songs [turned up to] 11. That's pretty much what I do." Unlike Tommy Stinson, who has apparently become a musician-for-hire. Hey, a guy's got to pay the rent and feed his little kid; you can't knock him for that, but do you have to sell your soul to make the down payment? Apparently so. Clumsy will open for Slobberbone on October 30 at Rick's Place in Denton. Date: Sat, 03 Oct 1998 14:49:58 -0400 From: "StEpHaNiE b. FrAnK" Subject: the Put-Outs & Evelyn Forever Maybe you remember my post in Skyway #61 regarding Tommy Stinson working with the Put-Outs? Anyway, the last I heard the tapes were sent to be mixed, but I don't know how much progress has been made. However, their site is up and running and once information is available on the disc, it'll be there I'm sure. This could be old news, but the guys of Evelyn Forever are big fans of the 'Mats. I saw them at the Balti-Pop festival at Fletcher's in Baltimore and their van had a big Perfect sticker on it, which I thought was cute. So I asked them about it (especially since their debut album is entitled Nightclub Jitters). They're apparently jealous of the Put-Outs for having the honor of working with Mr. Stinson. They really do some great catchy power pop that is not to be missed. Until next time... Stephanie ********************************************************** * the Put-Outs --> http://listen.to/put-outs09 * * Popstar --> http://welcome.to/popstar09 * * Not Another ClichE9 --> http://coward.home.ml.org * * Rule 62 Rules --> http://audiophile.com/rule62 * * My Bootleg Stash --> http://audiophile.com/boots * * This Is Me --> http://deathsdoor.com/stephanie * ********************************************************** Date: Sat, 05 Dec 1998 03:35:59 -0500 From: Ashmi From: "BILL MCNIE" My Music Boulevard Allstarmag December 4, 1998 B-52's Cindy Wilson, GNR's Tommy Stinson Voice New Children's Roles The B-52's Cindy Wilson plays a housewife turned pawn shop owner. Ex-Replacement and current Guns N' Roses bassist Tommy Stinson turns into a motivational speaker. Ex-Velvet Underground drummer Moe Tucker gets slippery as a ballerina. And Drivin' N' Cryin's Kevn Kinney gets funky as a cross-dressing ballet instructor. No, we're not on crack. It's actually the storyline of The Slippery Ballerina, the second children's CD/book from Atlanta producer Clay Harper & friends. The project also includes Jack Logan -- who will illustrate the CD/book -- Ian "Sex and Drugs and Rock and Roll" Dury, drummer Wreckless Eric, and James Brown's MC Bobby Byrd, who serve as the story's narrators. According to Harper, formerly of the Coolies and owner of the Atlanta- based studio and record label Casino Music, the songs and story tell the tale of a ballerina named Monkey (Tucker) who gets manipulated by two crooked artist management guys (Plymon and Ivey, played by Dury and Eric), causing her to sweat uncontrollably as she makes her ballerina debut. This, in turn, results in her slipping all over the place onstage. The moral of the story is to "do what you love and love what you do," says Harper. In the end, all the characters end up doing what they love to do. For instance, Wilson plays the mother of the ballerina, who is sick of being a housewife, so she takes over her husband's pawn shop. Her husband is played by Stinson, who ends up being a motivational speaker for real estate brokers. Kinney plays Monsieur Vieux Croissant, the cross-dressing ballet instructor, and Byrd plays the role of the voice of reason. Each character sings their parts on the album, which will likely be completed in January and released on Casino Music shortly thereafter. So far, the music -- created by Harper's brother Mark Harper and Atlanta producer David Ford -- the narration, and Kinney's vocal parts are all in the can. The rest will be done shortly. (Stinson's doing his vocal parts in Los Angeles.) Members of the Atlanta Gay Men's Choral Group also make an appearance on the album. The Slippery Ballerina is the second kids project Harper has put together. The first one, Not Dogs... Too Simple (A Tale of Two Kitties), was released in July of this year and featured Logan, Tucker, Kinney, Dury, and Wilson, as well as Rev. Horton Heat's Jim Heath, Rick Richards of Izzy Stradlin's band the Satellites, and former Guadalcanal Diary frontman Murray Attaway (allstar, Aug. 6, 1997). Not Dogs... is still available on the label's Web site at www.casinomusic.com, and The Slippery Ballerina will also be sold there as well. "This one's better," says Harper. "It's funny as hell. You'll get a huge kick out of it. It's very bizarre." - Carrie Borzillo _____________________________________________________________________________ IV. YADDA From: "Montesano, Tony" Subject: Replacements Tribute Band Date: Sat, 17 Oct 1998 10:44:11 -0700 ANYONE INTERESTED IN STARTING A REPLACEMENTS TRIBUTE BAND? I am a 29 year old guitarist (great rhythm guitarist, just OK on leads) and vocalist in Chicago looking to explore the possibilities of starting a Replacements (& Westerberg/Bash & Pop/Perfect/Grandpaboy/Mars/Dunlop etc) tribute band. I would need a lead guitarist, bassist, and drummer, all in Chicagoland. What do you think? Would anyone come to see us? It would be a blast anyway. Contact me if you are interested. Tony Montesano Siemens Office Solutions Group Tel: 773-395-0843 Fax: 773-395-0897 anthony.n.montesano@siemenscom.com http://www.siemenscom.com Date: Sat, 10 Oct 1998 01:05:44 -0400 From: "Matthew S. Kelley" im sure like everyone else who writes, i think i'm the biggest 'mats fan ever. i would like to be on the list. i'm new to the internet thing but the important thing is i'm here now. i have a big selection of bootleg 'mats stuff, and i'm more than willing to share. what i need is the replacements stink and all shook down on vinyl. i have boink, and when the shit hits the fans, but not those. i have dats of let it be out takes, chilton sessions, pre sorry ma sessions, pre pleased to meet me sessions with bob, the promo video for all for nothing, but i think that is on the cd rom, and other goodies. i dont know if these are common, but like i said i'm willing to share. thanks matt From: "Tim DiAna" Subject: PW tapes Date: Tue, 20 Oct 1998 18:16:12 -0500 Am looking for two shows, the Austin TX, and Rivera show during 93. Wondering if anybody can help me out? "I walked out of work and I was tired as hell, another day come and gone oh well somewhere there is a drink with my name on it." Paul Westerberg Date: Sun, 25 Oct 1998 12:38:11 -0800 From: steve smith I have a few pix I took of the mats in Vancouver Canada in 1985 when Bob was still in the band and I wouldn't be adverse to sharing if anyone wants to do some trading for tapes or what have you? Drop me a line @ callned@intergate.bc.ca steve smith From: cookieco@sprynet.com Newsgroups: alt.music.replacements Subject: FS or FT : New Mats CDR!!! Date: Sun, 04 Oct 1998 14:41:53 GMT Hey people - To show that Miraclo isn't the only one who can make good Replacements boots I'm announcing a new double CD of the incredible Maxwell's, NJ 2/4/86 show titled "Maniac" (after an old horror movie not the '80's ditty) It is excellent sound with no between song edits or silences. It also includes the Maxwell's soundcheck, Saturday Night Live performance of that year, VPRO session, and Old Grey Whistle Test as bonus tracks. I also have these CDRs for sale or trade as well: Beat Girl (with original sequencing glitch fixed and better sound) Don't Tell A Soul & All Shook Down Demos 'Mats Last (Chicago 7/4/91) Paul Westerberg - You Don't Have To Shine Or Nuthin' (non-album tracks) Any questions about track listings or art - let me know. I will trade CDRs for tapes if you have something I want - I am looking for the Connells, Costello, recent Dylan, Nick Lowe, Mats, Wilco, and many others so send a list. If you are interested in buying make me an offer - I will be reasonable (I think $18 is too much for a CDR personally) Thanks, Danny fin. ________________________________________________________________________________ The //Skyway\\: The Replacements Mailing List (digest only) http://www.novia.net/~matt/sky/skyway.html Matt Tomich | 117 Green Street | Chapel Hill NC 27516 | USA ________________________________________________________________________________ "Charlie Brown is the one person in history that I can identify with. He wasn't even the star of his own Halloween special. He was blown off the screen by Linus and did what most people do with their lives: instead of having fun, he sat and waited for some shit that never came." - Chris Rock