Nothing In 2017

I've got several half written, half started musings saved from the past eight months, but I just haven't had the inspiration to finish them. Like this offering, I sort of went about what I wrote with a half-hearted attitude. If I don't have anything to express or say, I just won't publish or I'll delete. At this point, I'm just making sure I get on the board for 2017

There is so much going on in the world, but my feelings float back and forth between disgust and exhilaration. From politics to science it seems every day brings something else to occupy my curiosity. Any sort of passion is out though. I don't really care much that the election of Trump is causing a melt down. He's a buffoon and a jackass that in over his head and the hysteria his election has caused can be a little entertaining. I don't feel like there are any politicians with anything to offer, so let this bitch catch fire for a little while. I've gotten some solid laughs and "WTF's?" out of it all so far. 

I have found a few bands that aren't new, but they are new to me. I recently started listening to Jason Isbell and Chris Stapleton and that was born out of my love of Shooter Jennings and Sturgill Simpson. A natural progression into more music made by artists that are not locked into the mainstream. I have also started listening to a pop band called "Portugal. The Man" and I dig them quite a bit. They have been around for awhile and are very much in the same vein as "Broken Bells", and "Foster the People"......sweet melodies and infectious hooks with a sensibility to the lyrics that are largely missing from today's radio pop/rock. 

I finally learned how to use Twitter. That's been OK. I get my news from there now instead of going to CNN/FOX. I really hate the mainstream media and want to be able to find information based on the level of importance instead of having to sift through click bait headlines and stories that I know contain editorial bias. I will probably tire of it, but at the moment it fills some time for me when I don't have much else to do. It's not a bad thing to read Ryan Adams melting down at least once a week. 

Tommy Stinson Steals A Kiss From Yours Truly

Oh, I did get to hang around a bunch of people that were hanging around Tommy Stinson at a "store show" for his "Cowboys in the Campfire" tour. That was pretty cool. 

Joe Rogan is still awesome and his podcasts are almost always worth my time. I continue to miss Christopher Hitchens and wish that Bill Hicks were here to comment on modern society. That would be a treat right about now. 

So, there it is. Nothing. My only offering of 2017 thus far. If you don't hear from me again.....I'm not gone, just gone away until next time. Enjoy life, it's probably the only one you'll get. 

The Replacements: They Satisfied.....

Our heroes with their hero.....before the "Tonight Show" appearance.

Well, here I go again....talking 'bout The Replacements. I may as well devote the blog to them, right? I had the chance to see the "new" Replacements twice this past year (Chicago/Louisville) after having not seen them at all for the first 44 years of my life. I had seen Paul Westerberg four or five times, Slim a couple of times and had a near miss with Tommy with Bash & Pop when my transmission went out on the way to Cincinnati. Fucking Pontiac! Still hurts me. 

I've written about not knowing what to expect out of this "reunion" of Paul and Tommy with my "man crush" drummer Josh Freese taking his seat on the throne and Dave Minehan taking over for Bob and Slim on guitar. I then wrote about how my expectations were exceeded by them playing live again. I won't rehash it. I do want to say, now that the announced dates have all been played, that I believe the best thing to ever happen to The Replacements was them "breaking up" some 20+ years ago. They had hit a wall. They weren't going to be a commercial success, Tommy needed some freedom and was growing as an artist and Paul needed to find out if he was really going to be the "voice of a generation". Which he was. It just wasn't the generation that was hanging out at the mall. He was the voice of the loner. The misfits. Those that were awkward in many different ways socially. He was a voice for those that felt alone, even in a crowd. A voice for those that really CARED about the music during an era that changed rock and roll forever. He wrote real alternative music, not the contrived bullshit that became it's own marketable genre off of his and others backs. How the hell can alternative music be played on a mainstream radio station? The point was missed....badly. 

A kick ass version of "Valentine", Dave and Josh really let it go.

All that has gone to history now and Paul and Tommy have concluded a journey that has lasted more than a year. They have toured all around the country and played before audiences of 20,000 plus. They didn't have to spend time in shitty hotels and in a van for days on end. It didn't have to become a burden for them personally. I love going to club shows. They are definitely more personal than a festival, but Paul and Tommy had been there and done that. It was time for them to get paid and do it in a comfortable setting on their terms. Bringing in veterans like Freese and Minehan was the right thing to do and it really started to show in the last few gigs they played, particularly on back to back weekends at the Austin City Limits Festival. 

If these are the last two shows they ever play, they sure the hell went out on a high note. I have watched both shows, via the magic of a You Tube downloader and DVD creating software. I have to say that they may have sounded tighter at other shows, but they were more like THE Replacements than in any other show I've heard or seen. At times they were a mess. At times they were brilliant. At times they were funny. At times they played with raw emotion. At times they looked like they didn't know what the hell was gonna happen next. They appeared to be totally in their element. Paul Westerberg looked like he was finally in his own skin being who he was born to be. I am probably dead wrong about this, but from a fans perspective it really looked like Freese and especially Minehan had finally reached the status of real band members. I sensed a look of reservation in earlier shows. In Austin they really cut loose and played their asses off! This was a real band. Freese and Minehan can now take their place along with Chris, Bob, Slim, and yes, even Steve. We can call them Josh and Dave now. They are no long replacements for Replacements. They are Replacements. This version of the band wasn't just rehashing the old favorites, this was a band hitting on all cylinders in only the way The Replacements could and in only a way a Replacements fan can really understand. 

They didn't phone anything in. They weren't the Rolling Stones playing "Satisfaction" for the hundred millionth time, oh so perfectly, but without passion or attitude! The songs were given life and vitality. They still hold up, they are still relevant, and they still can give this fan a chill. Especially when they are played the way they were created. Ragged glory. Warts and all. Hearing Paul sing "Unsatisfied" with Dave playing with the slide just got to me. I didn't hear it from the perspective of my youth anymore. It didn't lose anything for me. It was fresh and alive again. I hear it as a 45 year old man that can look back on some of his life and still feel "unsatisfied". It's fucking art and not everyone likes it and not everyone understands it, but it's a fulfilling reward if you do. 

If this is the last song they ever play, it was a fitting end. Paul put it to bed in way that may only make sense to him.....he trashed his guitar and walked off the stage, with Tommy smiling in the background. 

 I just don't know if they had stayed together another 5 or 10 years if they would be where they are right now. There were too many swings and misses that wouldn't have happened to shape them into who they are now. We missed them though. Apparently, Tommy and Paul missed each other. What came out of that two decade long drought was an awesome year of seeing these two "alternative/punk" legends reach back into their souls and pull out the music that made them who they are and along with two fresh members, taking their fans, not for a walk down memory lane, but for a full fledged flight of redemption and affirmation. We were right. This was and IS a great fucking band. A real band. I don't see them as Paul, Tommy and two other guys. This is The Replacements. I can only hope they will continue to play once in awhile and possibly record some new music. If not, I think the comeback was all anyone could have ever hoped for. I'll take it and not beg for anything else.

"....and if I don't see you there, in a long long while.

I'll try to find you, left of the dial."

"Left of the Dial" - The Replacements

Some other shit I have written about The Replacements....

http://freddysopenmind.blogspot.com/2013/03/new-replacements-music.html

http://freddysopenmind.blogspot.com/2012/06/replacements-pleased-to-meet-me.html

http://freddysopenmind.blogspot.com/2013/08/bands-and-reunions-when-is-it-band-not.html

http://freddysopenmind.blogspot.com/2013/10/the-replacements-gwar-public-enemy-riot.html

http://freddysopenmind.blogspot.com/2012/12/happy-birthday-paul-westerberg.html

http://freddysopenmind.blogspot.com/2010/08/albums-i-like-em.html

http://freddysopenmind.blogspot.com/2009/11/best-friggin-band-ever.html

The Replacements, GWAR, Public Enemy & Riot Fest!

I now have the Replacements Chicago performance in my rear view mirror by three weeks. My perspective of the show isn't much different than it was three hours afterwards. I have only been to a couple of music festivals, but I have to hand it to Riot Fest; it was a really great event. Entertainment everywhere. Music, carnival rides, street performers, affordable grub, and a nice even for people watching. Above all though, I enjoyed the music. 

I got to see a lot of bands play, and while I liked Blondie, the Violent Femmes, Joan Jett, and others, the stars of the weekend for me were GWAR, Public Enemy and of course, the Replacements. Perhaps GWAR and Public Enemy hit me so hard because I had not seen them before and wasn't really sure what to expect, but they delivered. 

On Friday night, Chris and I had decided that we would go over and see GWAR. We had both heard from friends that they were a crazy act and not to be missed. I guess I didn't quite understand what I was getting ready to see, but right from the get go, the music didn't agree with me, but the theatrics did. I'm not much into heavy metal and GWAR brings the thunder. Loud guitars, screaming lyrics and a relentless drive. To each his own....I'm not knocking it. The stage show was a different matter. I love some insanity on stage and that's just what GWAR brought. This is a family blog, so I really can't go into much detail. Yeah, it was THAT crazy. Lots of "blood" and "semen" and "semen and blood". Lots of entrails being ripped out. The rape of a priest. A zombie Jesus. A few people left and I'm guessing that they had no idea what they were in for. I will post a You Tube link to some video of their act, because I just can't do it justice with the written word. I'm not that strong of a writer! If I had to try to pin the show down to one word, it would be "HILARIOUS"! I couldn't stop laughing. Back in my Christian days I would have been appalled....offended....angry. But, without that prevailing worldview to sort through any longer, I was able to laugh at some of the ridiculous depictions that took place. I wouldn't go out of my way to see this band, nor would I buy their music, but they sure know how to put on a show!

Public Enemy was another act I wanted to be sure to catch while in Chicago. Not so much because I'm a big fan, but because I appreciate their place in both musical and popular culture. Not quite the kick in the balls that NWA provided at their peak, but they were (and still are) artists that highlight social injustice and provide lyrics that promote human unity and "fighting the power" when the power needs to be fought. My friend Greg had turned me on to them in college and again, while I'm not a big fan, I really did have an appreciation for what they did. Chuck D, Professor Griff and the rest of the band came on and immediately the crowd reacted positively. It wasn't until Flavor Flav hit the stage that things went to the next level. The guy is a show unto himself and he clearly loves the "love". When he wasn't pimping every single social media/internet site that you could find the word "flavor" on, he was doing his thing as the best "hype man" in the game. He's got some solid skills though and even sat behind the drum kit and kicked some ass too. Chris and I were right in the middle of the crowd, fist pumping and feeling the love. The DJ was superb as was the musicianship. A genuine highlight of the weekend for me. A really fun time.

The reason I was at Riot Fest at all was The Replacements. Sure, I love all sorts of music, but there is no way I travel 5 hours and spend what I spent to see anyone else. This is MY band and the chance to see Paul and Tommy share the stage again was something I wasn't going to pass on. Sure, they could continue to tour and come to Louisville, but that's far from a sure thing and again, no way I'm missing a "life opportunity". It was rainy on that much anticipated Sunday, so Chris and I lounged at the hotel for most of the day. As I explained in my previous post, we had a charmed experience getting to Humboldt Park. Got a nice spot just across the street for an easy $20. The rain relented and we went in and surveyed the damage from the weather. LOTS of mud, lots of muddy people. That did nothing to dampen my spirits. We hit the tents and grabbed some t-shirts and waited. We wanted to see the Pixies, but to get a prime time spot for the 'Mats, I let Chris lead the way and we gave up on watching Black Francis. We watched AFI and started moving through the crowd. When that show was over, we fought against the tide and made it damn near to the stage. A tremendous spot to see my musical heroes! 

During the hour long wait, we were packed in like sardines. That's not a situation I'm always comfortable in, but with all the fans surrounding me talking about this anticipated show, it made it much easier to tolerate. I spoke with quite a few people half my age. Florida, New York, Boston....people from all over had gathered to see this reunion. We swapped stories about the songs we loved, which albums were our tip top favorites and discussed why this bands legacy had endured. A legacy that is strong, with deep roots, but has stayed mostly outside the mainstream. The Replacements have had a huge influence on a lot of bands through the 90's up to today. That influence has been expressed in the press quite often since Paul and Tommy dusted off the Replacements name. They are an important part of the alternative movement. They helped build the foundation for bands like Green Day, Nirvana, the Goo Goo Dolls and so many others that hit it big with a sound that wasn't always polished. Raw and real was a sound that many music fans wanted coming off the prefabricated, over synthesized sounds of the 1980's. 

Back to Chicago. Twenty two years ago, the Replacements played a July 4th show at Grant Park (in Chicago) and stopped touring and recording together. Now, here I was, on the cusp of watching them return. I was a bit anxious, not exactly knowing what to expect. Sure, I had heard the Toronto performance a couple of weeks earlier, but this was Chicago! This is a city that had embraced the Replacements in their "Heyday" and was ready to do so again with a crowd of tens of thousand packed around the stage.



As soon as Paul Westerberg and Tommy Stinson made their appearance along with new Replacements Dave Minehan and Josh Freese, the outside world was forgotten. Even though I would ordinarily be out of my element in the middle of the chaos, right up front by the stage, I totally got into it. The crowd up front was truly like an ocean, you had to move with the ebb and flow or you would go down and that wouldn't be a good thing. "Takin' A Ride", "I'm In Trouble", "Favorite Thing".....these tunes opened the show and were played with fervor and passion. By the time they go to "Tommy Gets His Tonsils Out" there was no doubting that they could still pull the passion out of themselves to do these songs (now at or over 30 years old) without a hint of nostalgia. Paul noticed the digital clock (the festival had hard times for the bands to go on and be done) in front of him and picked it up to examine. Clock, we don't need no stinkin' clock. I shouted "Fuck that clock!!" and the guys next to me picked up on it and suddenly there was a contingent chanting "FUCK THAT CLOCK, FUCK THAT CLOCK!!!". Paul pulled the clock up and threw off the back of the stage. "You got your way. I'm an old hand at this. A music professional."



I felt like I was right where I should be, having a great time, absorbing the music and the energy of the crowd. For 25 songs time, age, work, the grind of day to day life went away. It was all about the music and seeing a band that I loved play the songs that meant something to me. Those songs and so many others that the Replacements played over the years are a part of who I am. Musically, my life is pretty much complete. I've seen Roger Waters and Paul McCartney, but I can't see Waylon and I can't see the Beatles, the Beastie Boys, or The Band, so the MUST SEE has been done. It was not anti-climactic at all for me. The performance was kick ass and I enjoyed myself as much as I ever have at a music show. I was home. They wound up the show with songs that couldn't have been any more perfect to send the crowd home with; "Hold My Life" and "IOU". A great experience that I'll never forget.   

Cabs, Trains, & Rickshaws: A Tale of Transportation

Well, I've been free floating (falling?) for a couple of weeks and really missed a great opportunity to put my thoughts on seeing Chicago, The Replacements, and Riot Fest for the first time into the written word. I will attempt to do that later, but I'm certain I will miss some stuff I would have liked to included. Maybe if Chris reads this, he will be able to throw in some shit and I'll just edit and add. It's a work in progress! For now, I want to write about going to and from Humboldt Park. 

Chicago is one big city and when you stretch it out to include the "burbs", it's tremendous and, for someone like me, almost overwhelming. It seems as though it takes forever to get around. For my tastes, I'll just settle on Louisville as being about the right size for me. Chris and I went up to Chicago by car and really were flying by the seat of our pants on how to get to and from Humboldt Park, where Riot Fest was being held. We finally settled on taking the train. Fairly inexpensive, but for the uninitiated, a bit confusing....sort of like the subway in Boston. After you get your bearings and study the map, it's not too difficult to figure out where you need to go. 

We got off the train along with a bunch of kids that were also headed to Riot Fest. Not knowing where the hell we were, we just decided to follow them. Whether it was to hell or Riot Fest, they held our lives in their sense of direction. It was a couple of miles to the Park and every step felt like it. We were in a largely Hispanic neighborhood that seemed nice enough, but I don't think the kids we were following were tuned into the fact that they need to chill their asses out. Walking in a neighborhood that isn't your own should pull some respect out of you. Well, it wasn't THAT bad, but singing, jumping around, being loud, drinking right on the street.....apparently that was a bit much for some locals. Chris and I overheard a native say that they (Hispanics in the neighborhood) would be locked up if they acted like that, but implied since the kids were white, they were just fine. And yeah, the guy was probably right. 

We got to the park and it was pretty damn awesome. Rides, games, "fair" type food at reasonable prices, swag tents, and sound stages. Street performers wandered around, and despite the volume of people, I don't remember seeing even one uniformed police officer. On top of that, I didn't see any altercations. The entire weekend was peaceful and pretty much douche bag free! That was welcome, because any time I go to see music in Louisville, there is always a contingency of douche bags that are not there for the music, but to be seen and to generally engage in douchebaggery. I guess people took the words on the bottom of the Riot Fest poster seriously.

After the music ended on Friday night, we knew damn sure we didn't want to take the 2 + mile trek back the way we came. So, we saw a dude with a rickshaw bike and we caught a $20 ride to the train station. We went through a pretty rough neighborhood, almost like something out of a movie. It made me appreciate that I was removed from the poverty and hopelessness that seemed to prevail. Took the train back and I have to make this observation; does anyone on a public transportation train have a good time? Having to spend nearly 45 minutes on a that train made me feel like I wanted it to jump the rails and slam into a pillar. 

The next day we drove.....or rather, Chris drove. I thought we were going to be a couple of miles from the park and just catch a cab. We found a parking garage and then found a bus that we could take to the park. Little did I know we were about 8 or 10 miles from the park and that distance of a ride on a bus in a city that averages 8 stop lights every 100 yards made for a  LONG trip. It was about an hour getting to our destination and if I thought the train was ripe with depression, the bus was worse. Stare at the floor, at the ceiling, read the advertisements, look out the window at traffic, check your phone for a message that isn't coming. Wash, rinse, repeat....about 10 times. 

All was right when he hit the park though! Great music, great food, and what seemed to be to me about 50,000 people! Once again, no trouble, just people of all ages (from babies to those in their golden years) listening to music and sharing laughs. After we had exhausted ourselves, we took a cab back to the car. The dude that picked us up assured us that Chicago was easy to learn, but this Serbian immigrant pulled a fast one on us. He went up and down side streets, got lost and even went all the way into a dead end. Which is where Chris thought our lives would probably end. Finally, he got us to our destination. We got our asses back to the hotel, hit the peace pipe and watched some Larry David. 

On Sunday, the day that I had been waiting on for most of my adult life, Chicago saw rain falling all day long. We decided to stay at the hotel until closer to "Replacements" time. We decided to try to place ourselves close to the park. We went to Humboldt and for about 30 of so minutes of riding around we thought we were screwed and would have to head miles away and take a cab. As we were leaving there was a dude just standing in an orange vest and Chris pulled up and asked if he knew where there was any parking. Well, it turned out he had one spot left. It was right across from the park. Incredible. $20....right there at the park, when it seemed there was no parking at all. It simply reaffirmed my faith that there isn't a god. If there was, the chances that Chris and I would have gotten that spot would be just about zero, especially after seeing GWAR and laughing our asses off through that performance. And that is for another blog. 

Yeah, I know....not much substance. Just felt like writing. My next effort will focus on the music and how I felt about seeing The Replacements....finally. 

"New" Replacements Music!!

Alright anyone who knows me very well at all knows that I'm fanatical about the Replacements. They were (are?) a rock band from Minneapolis that had their hey day back in the mid-80's. They were influential on quite a few alternative, alt-country, and grunge bands that would begin to emerge around 1990 or so. I don't need to go into their past, I've probably done that enough already in other articles. All you need to know is that I love this band. 

Last year, Slim Dunlap, who was a guitarist for the last incarnation of the band (replacing the beautiful mess Bob Stinson) had a stroke. A bad one. Being a struggling musician doesn't always afford a person with access to great health insurance (does being anything give you that access though?) and his long hospital stay put his family in a major league financial bind. So, his friends and fans swooped in to lend a hand. 

People donated via Pay Pal and that was great, but the real big money help would come in the form of an effort by musicians who had a genuine interest in helping a good man out who was down. Musicians like Steve Earle, Joe Henry, Lucinda Williams, The Minus 5, Tommy Keene, Jakob Dylan, Lucero, The Jayhawks and many others recorded some of Slim's songs and they will be pressed into vinyl 45's and sold at auction on EBay. Following the auctions, they will be released in a more commercial form. 

That's not the end of the story though. The story continues with Paul Westerberg and Tommy Stinson coming together to record a few songs to release on a limited edition EP. That EP included a song submitted by former Replacements drummer Chis Mars (who is also a fantastic and successful artist) and by virtue of having three of the four original band members on the EP, it was easy and non legacy threatening to slap the Replacements name on it. Mars also released a song called "When I Fall Down" (in my opinion it's among his best work as a solo musician) that he made available on the 'net with proceeds going to the Slim fund. 

The EP is called "Songs For Slim". I don't really want to review it. It's not as if this is a comeback album in any traditional sense. They knew their loyal fans would want some fresh Replacements music and it was a great thing to do for a friend in need. How good it is really shouldn't matter. Personally, I was instantly drawn to "I'm Not Sayin'" which is a cover of a great Gordon Lightfoot song. Of course, they rock it up, but it's very much a Replacements tune. It has the lyrical twists of a typical Westerberg song and a supped up tempo that was a big part of the Replacements "sound". There is a really solid version of "Lost Highway" which was made famous by Hank Williams, and a fun, loose cover of Slim's "Busted Up". "Everything's Coming Up Roses" (which was Ethel Merman's signature tune) taken from the Broadway musical "Gypsy" in 1959, is on the EP as well and gets the Replacements tongue in cheek, "we'll try anything once" treatment. The other song was submitted by Chris Mars and it's a cover of Slim's "Radio Hook". Chris throws a little juice into the song and steers it away from the ever so slightly psychedelic direction that Slim recorded it with. 

It's not "vintage" Replacements by any stretch. They can't reproduce that. Most of us can't find the inspiration or motivation in us that we had when we were teenagers or in our early 20's. Trying to duplicate that would basically reduce them to caricatures and if there is anything that Paul Westerberg probably would like to avoid, it's turning the Replacements into a critical dart board.

I'm more than happy with the effort and I'm likely in the majority of Replacements fans with that feeling. It's good to know that these guys have matured and grown enough to be comfortable settling back into old roles, even if for a short time to help out a friend. It may not seem that way in regards to Chris Mars, but I have to think that would be inaccurate to believe. Mars helped out and even made it in to do some backing vocals when Stinson and Westerberg got together to record a couple of songs for their retrospective disc a few years ago. He also provided the artwork for the "Songs For Slim" EP and apparently may do so for each 45 record that is released, although I'm not positive on that.

The Replacements members all have their places in life now and I'm just happy they saw fit to help out their friend and in doing so, gave me a few new songs to enjoy. By the way, the fans who purchased the Special Limited Edition EP deserve a pat on the back. 250 records raised over $100,000 to help with Slim's medical bills and home care. That's awesome! Now, the EP is being sold on Amazon and through other vendors and even more money can be raised to help out Slim. I've met Slim and got to spend some time listening to him talk about music at an in-store he did in Louisville when he toured with Son Volt. I even got to go on stage (in a drunken stupor) and "play" his guitar at the BBC. Why did I get to do that? Because, I can't play a lick and that's what he wanted! 

Slim Dunlap

The Replacements : Pleased To Meet Me

(At one point, I call this a review, but it's not. It's a "love letter" to the album.)

I've never made it a secret that one of my favorite bands (if not my tip top favorite) is The Replacements. Maybe I should say "was" The Replacements, since they broke up about 20 or or so years back. They were a band that influenced grunge and the emerging "alternative" sound as it came alive in the early 90's. I never understood the concept of a band or a song getting mainstream radio play being called alternative. Alternative to what? The Replacements, Concrete Blonde, REM (for awhile at least), The Smiths, Sonic Youth, and The Cure were real alternative bands. They were making music that college kids and misfit teenagers alike, who were sick of hearing the overproduced and over exposed synth rock of New Wave and the bloated excess of popular rock, wanted to hear. It was real and much of it was raw. The Replacements were a band that started out worshipping punk hero's like Black Flag and the New York Dolls, but wound up moving towards the pop sensibility of say The Box Tops or the Stones at their ragged best. At times, it seems that their fans, record label, and media wanted them to be famous more than they did. The self sabotage is great rock n roll history and diving into "All Over But The Shouting" by Jim Walsh explains some of it quite well. Showing up to gigs drunk and playing horribly when the "suits" were there to see them, and then showing up the next night and tearing the roof off. Pissing off the executives at NBC so bad that they were banned for life from Saturday Night Live. Taunting censors at the AMA awards in the infamous "Talent Show" incident. It was who they were. They never seemed comfortable getting attention. They didn't understand how to deal with it. Perhaps the pressures of fame chasing them hastened their death as a band. Perhaps it was inevitable either way. That's history now though and their body of work is a progression that is interesting when viewed from the distance of time. I could write thousands of words about The Replacements, but I wouldn't be saying anything that hasn't been said before, so I'm going to review my favorite record by The Replacements; Pleased To Meet Me. 

If you are still with me, then you probably either care about The Replacements or want to learn more....or perhaps you are really bored. No matter why you are still reading, thanks for sticking around. Pleased To Meet Me Was released by Sire Records in 1987, so it's been 25 years since it hit the shelves. PTMM, as I will refer to the album from here on out, was the band's second major label record, after having put out four albums on the smaller, Minneapolis based label called Twin Tone Records. Many people consider the 1986 album Tim as their masterpiece, and with the music on that record it's hard to disagree. It was their major label debut and had several songs "Bastards Of Young", "Hold My Life", and "Left Of The Dial", that proved to be anthems for many young music lovers who were coming to grips with moving out of their teenage years at a time when everything from fashion to music seemed hollow or to have a dollar sign on it, including their rock n roll heroes. For me though, PTMM was their grandest, most accessible and dare I say, greatest album. Maybe it was because it was the album that my friend Brian forced upon me unlike anything else he ever asked me to try. I was a card carrying Beatles, Zeppelin, and Floyd guy. Alternative music? Bah. If it's not on the radio, it must be minor league music. Whoops. That still stings. I had the cassette tape that I was loaned for ten years before I gave it back. I listened to it begrudgingly at first. A track here. A track there. Then I decided to just leave it in the car cassette player for awhile. And it started getting through. It started speaking to me. And not just the album, but the band and the way they played. The way Paul Westerberg sang with ragged desperation. The way Tommy Stinson and Chris Mars drove the music through your soul like a hammer slamming a nail into wood. The sensible, sometimes fun, and sometimes sad song writing. This album led me to become a full fledged Replacements addict. I collected everything I could find, from music, to magazines, to VHS tapes of them, and finally into an underground tape trading circuit where (I also met some neat people and still correspond with them today; Rob, C9) I collected tons of great live music, demos and outtakes from my new obsession. 

Well, I can't help it I suppose. I keep going personal when I simply want to review the record. Oh, well, fuck it. It's my blog, right? How can I share anything about this album without telling you what the draw is? I can't. 

PTMM checks in at a frantic 33 minutes in length. The cover is a take on Elvis' GI Blues album cover and the depiction of a "suit" shaking hands with a someone who was obviously ragged plays into the title of the album. Was it showing The Replacements coming to terms with being a major label commodity? PTMM was produced by Jim Dickinson and was recorded in Memphis, Tennessee. The Memphis influence can be felt at times, especially when the famous Memphis Horns, and Alex Chilton lend their work to "Can't Hardly Wait", and Luther Dickinson (Black Crowes lead guitarist) puts his stamp on "Shooting Dirty Pool". To date, it was their most polished and technically savvy recording, but don't mistake that for clean and anti-septic. The songs have life and drive. 

First up on the album is "IOU". It starts the record off on a raucous note. Driving the guitar right down your throat from the get go and letting you know that you are listening to The Replacements. The lyrics, when dug into, seem to reject the fact that simply because the band is being pushed towards the bright lights, they still don't buy it. They do what they do and don't owe anyone a damn thing. The drumming by Chris Mars is not always technically proficient, but he really pushes the song with his relentless beat. 

The next song is an homage to Alex Chilton, a fantastic song writer, who was a member of the Box Tops (The Letter, Cry Like A Baby), and one of music's first "alternative" bands Big Star. Paul Westerberg was a big fan of Chilton's songwriting and was probably hoping to turn a new generation on to one of his heroes. The tempo of this song is infectious, as Mars does great work once again and Westerberg writes one of his best hooks ever; "I'm in love, what's that song? I'm in love, with that song". "Alex Chilton" is featured on the Rock Band video game, just as an FYI. 

"I Don't Know" is the Replacements showing their grit. Tommy Stinson, in my opinion, is the backbone of the music with his relentless bass, along with the subtle saxophone work. The lyrics, once again, seem to be a push back on "hitting it big". The line is "one foot in the door, the other one in the gutter". Westerberg realized they were just one step either way from being nothing or being something. There they were, stuck in the middle, with the door closing. 

Up next is "Nightclub Jitters". It's a nice slow down take on cocktail jazz. I feel guilty for not listening to it in a dark bar with a bourbon sitting in front of me. This is a song where Westerberg was exploring something different. It fits pretty well right in between "I Don't Know" and "The Ledge", acting as a bridge from pissed off rock n roll to a song with a conscious. "The Ledge" is Westerberg's taking on suicide. Because of its lyrical content, which is a stark look inside the mind of a disaffected youth who is ready to leap to his demise, it was banned from MTV and seemed a very strange choice for the albums first single. We are talking about The Replacements here, so why should anyone be shocked. The song doesn't give you a happy ending. The kid doesn't come to his senses. We get a look into his thoughts as people gather below and around him. There is no "movie" ending. "All the love, that they pledge, for the last time will not reach the ledge" I think Stinson does some of his best bass work on this song. 

"Never Mind" is yet another song that uncovers Westerberg's feelings that he doesn't want to be duped by the draw of being a pop star. If you don't invest in it, how can you be hurt? It's evident in later work that Paul Westerberg wanted to be a star, he just didn't possess the ability to jump in the water and throw caution to the wind. "Never Mind" gives way to one of the most underrated Westerberg songs ever. "Valentine" searches for something. There's a longing to the lyrics. I don't know of many songs that open with a better line about romanticism ripped away than "Well you wish upon a star, that turns into a plane". It doesn't get any more hopeless than that. This is such a great song that tears your heart out, I can't believe another band hasn't covered this. It has it all. Great beat. Rousing guitars. Heartfelt lyrics. 

"Shooting Diry Pool" and "Red Red Wine" are the obligatory "throw away rockers" and they fit right into the album. These are songs that in less than capable hands, could have been a drag on the record as a whole. Sometimes a band just mails in the filler material. The Replacements don't, and some credit probably goes to producer Jim Dickinson and his direction for the album as a whole. They treat their second tier songs with just as much fervor and love as their more notable tunes. You get what they want to give you. Most of the time, they give you what you want. "Shooting Dirty Pool" is a straightforward rocker with some really fun, soaring guitar work from Luther Dickinson of the Black Crowes. 

The album winds down with two of the bands greatest songs. "Skyway" is a soft, low key song about a person who has a longing for a woman he has seen, but never met, on the mass transit system. He dreams of meeting her, but can't quite find the nerve. Love is fleeting, especially when it's expressed from afar. A theme that Westerberg has hit more than once in his career. Notably on "Love Untold" from his solo record Eventually.

The only way to end this album was to save the best for last. "Can't Hardly Wait" features the Memphis Horns prominently, but their presence doesn't detract at all from the raw feeling of the album. There is a lot to love about this song. The lyrics are sublime. Westerberg longs for (and dreams of) home as he sits in a shitty hotel room (perhaps in Memphis?) somewhere on the road, far away from his hometown of Minneapolis. Lyrically it's hard to beat "I'll be home when I'm sleeping. I can't hardly wait" and "Hurry up, hurry up, ain't you had enough of this stuff? Ash tray floors, dirty clothes, and filthy jokes." Alex Chilton lends his guitar to this song and he carries it musically. The rest of the band plays in a controlled manner, with Stinson plucking away in unison with Mars' drum pace which is simple and patient. I've probably listened to this one a thousand times in my life. I never grow tired of it.

That's about it. Yeah, I could go on, but I don't really expect very many people to read this honestly. It's lengthy and the subject matter appeals to only a few. This was a labor of love. It's one of my favorite albums and it's hard to believe it's been 25 years since I was a clueless 18 year old, who latched on to something he didn't immediately understand, but knew felt right. The album only charted at 131, yet The Replacements following over the years has expanded enough to the point that Rhino released a remastered version (along with all the other Replacements albums) along with demos and outtakes. Even if the public, or you, didn't care about it, the fans and critics did. Famed critic Robert Christgau gave it an "A-", Pitchfork checks in with a 9.3 out of 10, the Rolling Stone Album Guide ranked it the fifth best album of 1987, and PunkNews.org rated it 4.5 out of 5.

 Perhaps the best review I have read about Pleased To Meet Me comes from David Fricke (Rolling Stone Magazine) who gave it a glowing review, saying "Tracks like "I.O.U." and "Shooting Dirty Pool" practically sound like Exile on Main Street at 78 rpm. It is ironic that Westerberg and the Replacements can make such a joyful noise out of so much anguish and insecurity. But on Pleased to Meet Me, the pleasure is all yours." Fricke got it, way back in 1987. And yes, the pleasure has been all mine! 

Thanks for reading.

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