Here Today... Gone To Hell!

BRIEF HISTORY:

The Replacements (also known as The 'Mats or The Mats, from the insult of a detractor who joked the band's name was 'The Placemats', which the band then adopted) was an alternative rock band from Minneapolis, Minnesota. They began as a punk rock outfit, along with fellow Minneapolis band H?sker D?, but they gradually shifted to a more mainstream, pop-rock style. The band featured guitarist and vocalist Paul Westerberg, guitarist Bob Stinson, bassist Tommy Stinson, and drummer Chris Mars. Tommy Stinson was just 12 years old when the group first formed.

The band drew most of their limited popularity from teenagers and people in their early twenties, as a huge bulk of their songs pertained to teenaged angst and desired independence, especially in their earlier days. Songs such as "Kids Don't Follow" and "Bastards of Young" showed the band's desire to almost remain as free-spirited children. The band turned up drunk to many of their legendary live shows, performing chaotic cover songs that revealed their love of classic rock. [1] Nonetheless, the Trouser Press claimed that they were, "for a time, the world's greatest rock'n'roll band." [2]

The Replacements released seven albums and one EP before breaking up in 1991 and toured with such artists as R.E.M. and Tom Petty. All members went on to various levels of success as solo artists after the dissolution of the band.

I think i'm in love with "kiss me on the bus" :love: and "bastards of young" is just a kick ass song :headbanger:

here are those 2 from SNL where they got banned for life after this performance i read.. http://www.youtube.com/watch?v=83E8H7mLxXs

Gwad...Paul with long hair, why in God's name did they get banned, even in '86, there were bands that did a hell of a lot worse, you can't really hear Paul say the f-bomb during Bastards of Young. Great clip though.

I dig Tommy and all, but the Replacements do absolutely nothing for me.

I love the "Bash and Pop" album though!  : ok:

 the Replacements i like them!  even thow i havent hear a lot of there stuff!
 :smoking: :crying: :confused: :nervous: :love: :rant: :rofl: :hihi: :peace: : ok: :no: :yes: :'( :-* :-\ :-X :-[ :P ??? 8) :o :( >:( ;D :D ;) :) :beer: :drool:


Peace

You really should take the time and listen, then.

"Here Comes a Regular" is amazing, "Alex Chilton" is killer....there's just too many to list.  In spite of getting little widespread recognition, the band put out an amazing body of work, and inspired many, many bands that followed their lead (The Goo Goo Dolls are a prime example, as - long before they went adult contemporary and abandonded their punk roots - "Superstar Car Wash" was essentially written with The 'Mats in mind.  Westerberg even wrote "We Are the Normal" on the album).

There's a new "best of" that came out within the past year with two new tracks.  Again, well worth listening to.

It's funny how Tommy Stinson went from being a member of a band called the Replacements to an actual replacement. :rofl:

The January 2005 issue of Vintage Guitar had some articles featuring Tommy's brother Bob including, of course, 'Mats' stuff.

I had typed it out and posted it in this thread:

http://www.heretodaygonetohell.com/board/index.php?topic=16757.0

BEFORE YOU READ IT, SCOLL DOWN TO REPLY #2 AND CHECK OUT THE PIC OF TOMMY!!!

At the start of "Kids Dont Follow", the person yelling "Fuck you, man" at the cops is Dave Pirner of Soul Asylum.

Village Gorilla Head is amazing, his Solo Albums Perfect and Bash and Pop are one of my all time fav.

I don't have any replacements cds. wich one should i get? what's their appetite, sort to speak?  :beer:

I dont think there is a definitive "best" Replacements cd. My taste alternates between "Tim", "Let It Be", and "Sorry Ma.....". I would suggest the recent best of "Dont You Know....". There are some notable tracks missing from it though "Johnnys Gonna Die", "Androgynous", "Hold My Life", and "Swinging Party" to name a few.

I'd say download this: http://www.heretodaygonetohell.com/board/index.php?topic=46370.0

then check out Tim and let it be  : ok:

Replacements are my #1 all time favorite band!!!!!!! I have about 5 of the original CD's. I love, love, love them. There are so many songs to recommend but actually the last CD they recorded before busting up is one of my fav's along with Tim. It's called Lucky and so many of the songs pertain to the way people feel - Someone Take the Wheel, You Be Me, etc..

They probably have a history similar to GNR - getting all loaded up and then fighting. I was at the free concert in Grant Park in Chicago when they played like 3 songs, started fighting, said some swear words to each other and walked off the stage. I thought the sponsoring radio station was going to shit in their pants because they streamed the event live and everyone in the audience was like, what the F just happened. I have a huge poster/picture of them in my basement partying like rock stars backstage at the Metro - great small place to see bands. They are all dressed in wigged out clothes and have various cocktails in their hands, acting like goofs and smoking cigarettes.

I have to look for the best of - didn't know that was released this year.

Paul Westerberg - his album 14 Songs - solo album is f***** kick ass too! Love Someone I Once Knew, Something is Me, Keep it Down Love, I Hear Ya, World Class Fab, Few Minutes of Silence, etc..

They are actually tied with Guns for my fav. when I heard Stinson joined Guns, I just thought it too coincidental that I love both bands and now they are mixing. How much happier could I be? Well, if Tommy took time off from GNR to form a reunion with the Replacements!!!!!! Then back to tour with GNR. I'd be in heaven man. :drool:

I dig a few of their songs but on a whole I think they are way over rated .

Oh well, cant all like the same stuff. Oh, by the way, I will now delete all your posts at TFHL.

 :hihi:

Go a head I will just have to go on a mucking spree .

Old punks never die, they just keep playing bass.

(http://ec1.images-amazon.com/images/I/51W6di3TuIL._SS500_.jpg)

The Replacements: All Over But the Shouting: An Oral History
by Jim Walsh

# Hardcover: 240 pages
# Publisher: Voyageur Press; First edition (November 15, 2007)
# Language: English
# ISBN-10: 076033062X
# ISBN-13: 978-0760330623






/jarmo

Replacements - "shaved eyebrows" interview

http://www.youtube.com/watch?v=aqvt7YBkG3Y

Book Reviews

The Replacements: All Over but the Shouting by Jim Walsh

I recognized something of myself in him. This night, though, we may have never been more alike...? That?s Jim Walsh on Paul Westerberg in the preface to his oral history of Minneapolis? most glorious drunk-rockers.

Fast forwarding to the present, he adds, ?We?re both healthy and fucked up but plugging along, just like everyone who came up on the ?Mats, I suppose...?

The author?s overidentification with one of rock?s most famous anti-heroes is a troubling but understandable aspect of this otherwise right-on tale of life in the eye of the rock ?n? roll shit storm. Walsh was in a band of his own (REMs) during Minneapolis? illustrious early-?80s heyday, which accounts for the close-but-no-cigar perspective. But it is his reporter?s sense and upclose view that is essential to this story: He knows where the bodies are buried, and his interviews with the right scenesters make up the meat of his part memoir/part rock ?n? roll testament to pre-?alternative? culture. The Replacements? tumult-fueled story emerges through the vivid recollections of fanzine writers, college radio DJs, record store employees, club bookers, partiers and musicians who transmit the undeniable importance of Minneapolis in the ?80s, along with the passion and sweetness of their youth.

Though Westerberg and bassist Tommy Stinson declined to be interviewed and drummer Chris Mars only appears briefly, late guitarist Bob Stinson lives in these tales (and his replacements Slim Dunlap and Steve Foley add their own firsthand color). The band?s carefully edited quotes underscore the idea that this story took place in a time when computers were for geeks and rock ?n? roll was still do or die. All Over but the Shouting is a very necessary document of a time when you could still tell something about a person by their shoes?or by the ultimate test: whether or not they liked the Replacements.

By Denise Sullivan

First printed in November 2007

http://harpmagazine.com/reviews/book_reviews/detail.cfm?article_id=6290

Interview: Author Jim Walsh on "The Replacements"

by Jeff Baker
Wednesday January 23, 2008, 10:52 AM

Bring your own lampshade, somewhere there's a party, and Jim Walsh will be there.

Walsh is a Minneapolis musician and journalist who's written "The Replacements: All Over But the Shouting" (Voyageur Press, $21.95, 304 pages). It's an oral history of a great rock and roll band, one that mattered to all the misfits who listened to music in the 1980s and still matters to misfits everywhere. There's a tribute concert Monday night after Walsh's reading, and he can't wait. Can't hardly wait.

"A bunch of Portland bands are going to throw down 'Mats' covers," Walsh said. "We're all going to gather for this common moment. In Minneapolis, it was a riot. In New York, everyone was there."

Walsh grew up in Minneapolis and knew Replacements drummer Chris Mars in high school. He became friends with lead singer and songwriter Paul Westerberg and the rest of the Replacements when his band, REMs (later called Laughing Stock), opened for them at local gigs. Walsh wrote about the death of the group's original lead guitarist, Bob Stinson, for the St. Paul Pioneer Press and delivered the eulogy at Stinson's funeral. His friendship with Westerberg has endured, although Westerberg refused to be interviewed for the book.

"Paul and I had talked about a book for years, but he didn't want to sit down and talk," Walsh said. "He didn't want to jeopardize our friendship, and he also said 'unauthorized sells better than authorized.' He said there were tons of interviews out there that he'd done and I didn't need to talk to him or Tommy (Stinson)."

Tommy Stinson, Bob Stinson's little brother, joined the Replacements when he was 12 as the bass player. During the Replacements' heyday, Westerberg once said he thought the rest of the band would one day have to buy tickets to see Tommy Stinson play in arenas. Tommy Stinson is now the bass player for Guns N' Roses.

"Well, Paul always was prescient," Walsh said, laughing.

Walsh said the Replacements' albums are being reissued this year by Rhino Records, giving younger fans a second chance to hear them.

"That happens cyclically with great bands - with (lousy) bands, too," he said. "It happened to the Doors six years ago or so. All these little kids walking around in Doors T-shirts grossed me out. ... I think when you're a teenager or in your early 20s, that's your most voracious discovery period for music. These kids might be listening to Green Day or Nirvana or even Fall Out Boy and hear Billie Joe Armstrong make some comments about the Replacements and find them that way."

Walsh's reading is at 7 p.m. Monday at Borders Books & Music, 708 S.W. Third Ave. The Replacements tribute concert is at 9:30 p.m. Monday at Slabtown, 1033 N.W. 16th Ave.

http://www.oregonlive.com/arts-books/index.ssf/2008/01/interview_author_jim_walsh_on.html

Long-Awaited Replacements Reissues Due In April

February 12, 2008, 10:45 AM ET
Jonathan Cohen, N.Y.
The Replacements' first three albums and an EP will be reissued in remastered, expanded form this spring, completing a long awaited upgrade of the seminal band's early work. "Sorry Ma, Forgot To Take Out the Trash," "Stink," "Hootenanny" and "Let It Be" will arrive April 22 via Rhino, Billboard.com can reveal.

Originally released on the band's hometown label, Twin/Tone, the albums were prepped for reissue by Replacements manager Peter Jesperson, with involvement from the surviving band members.

The Replacements' debut, 1981's "Sorry Ma, Forgot To Take Out the Trash," introduced its lovably shambling rock style via tracks like "Shiftless When Idle," "Takin a Ride" and "Johnny's Gonna Die." Bonus material includes frontman Paul Westerberg's original four-song demo from 1980, several outtakes and the B-side "If Only You Were Lonely."

The EP "Stink" followed in 1982, tearing through eight songs in 15 minutes. The four bonus tracks on the new edition are all previously unreleased: the outtakes "Staples in Her Stomach," "Hey, Good Lookin'" and "(We're Gonna) Rock Around the Clock," plus a Westerberg home demo of "You're Getting Married."

The Replacements' sophomore album, "Hootenanny," arrived in April 1983, further cementing its status as one of the most exciting new rock bands in America on the strength of songs such as "Within Your Reach" and "Color Me Impressed." Rhino's new edition boasts six previously unreleased tracks, including a demo of "Bad Worker" and an alternate take of "Treatment Bound."

Rhino's final reissue in this batch, "Let It Be," is regarded by many as the Replacements' best album. The 1984 release boasts indelible tracks such as "Unsatisfied," "I Will Dare" and "Androgynous"; it is here bolstered by an alternate version of "Sixteen Blue," the home demo for "Answering Machine" and covers of the Grass Roots' "Temptation Eyes" and T. Rex's "20th Century Boy."

Later this year, Rhino will continue the reissue campaign with expanded editions of the Replacements' Sire catalog: "Tim," "Pleased To Meet Me," "Don't Tell a Soul" and "All Shook Down."

Here is the bonus material for the Replacements reissues (previously unissued tracks marked with *):

"Sorry Ma, Forgot To Take Out the Trash":

"Raised in the City," live, 1980 - demo*
"Shutup," live, 1980 - demo*
"Don't Turn Me Down," live, 1980 - demo*
"Shape Up," live, 1980 - demo*
"You Ain't Gotta Dance," studio demo*
"Get on the Stick," studio demo*
"Oh Baby," studio demo*
"Like You," outtake*
"Get Lost," outtake*
"A Toe Needs a Shoe," outtake*
"Customer," alternate take*
"Basement Jam," rehearsal*
"If Only You Were Lonely"

"Stink":

"Staples in Her Stomach," outtake*
"Hey, Good Lookin'," outtake*
"(We're Gonna) Rock Around the Clock," outtake*
"You're Getting Married," solo home demo*

"Hootenanny":

"Lookin' for Ya"
"Junior's Got a Gun," outtake - rough mix*
"Ain't No Crime," outtake*
"Johnny Fast," outtake - rough mix*
"Treatment Bound," alternate version*
"Lovelines," alternate vocal*
"Bad Worker," solo home demo*

"Let It Be":

"20th Century Boy"
"Perfectly Lethal," outtake*
"Temptation Eyes," outtake*
"Answering Machine," solo home demo*
"Heartbeat -- It's a Lovebeat," outtake - rough mix*
"Sixteen Blue," outtake - alternate vocal*

http://billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003709827 (http://billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003709827)



/jarmo

What is the musical genre of this unknow band?

http://billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003709827

cool!
i will def buy

Entertainment Weekly >> Issue #984 >> March 28, 2008

The Indie Rock 25
The Replacements!
R.E.M.!  Radiohead!
25 Years of the Best Bands, Their Key Albums, and Essential Tracks

(http://gypsysoul.lunarpages.com/ew32808b.jpg)

1984
the replacements
LET IT BE (TWIN/TONE)

One way to tell Let It Be was the Replacements? last true indie release:  the very title.  Would any corporate label?s nervous-Nelly lawyers have let them get away with nicking the Beatles like that?  Then again, there was something so unassumingly, charmingly careless about the band that you could almost ? almost - imagine the rip-off was undeliberate. Audacity, or accident?  This Minneapolis foursome often seemed to be treading that fine line, with shows that devolved from mosh-pit rave-ups to drunken looniness, anchored by the acclaimed songwriting of Paul Westerberg, who seemed eager to take the piss out of his own most sensitive efforts.  This 1984 LP caught them at a great transitional moment:  not yet having shed their early scrappiness, while Westerberg came into his own as a writer.  They could do vicious (?Seen Your Video? hardly needed any commercialism-indicting lyrics beyond its title) or go goofball (?Gary?s Got a Boner,? anyone?) and even turn out a pop classic or three ? like the plaintive ?Answering Machine? ? in the midst of the glorious mess.  Essential track ?I Will Dare?

(http://gypsysoul.lunarpages.com/ew32808.jpg)

RollingStone >> Issue 1050 >> April 17, 2008

REISSUES

THE REPLACEMENTS
SORRY MA, FORGOT TO TAKE OUT THE TRASH; HOOTENANNY; LET IT BE
4/22*
The Replacements' first three studio albums (plus their 1982 EP Stink) are being reissued with thirty bonus tracks - including the band's original 1980 four-track demo.


*April 22

RollingStone >> Issue 1051 >> May 1, 2008

REVIEWS  REISSUES & RARITIES

The Replacements  * * * * (Four Star Rating)
Let It Be Twin/Tone/Rykodisc/Rhino

Minnesota punks? final indie release still stinks of little-guy triumph ? and beer breath

?Label wants a hit/and we don?t give a shit!? Replacements frontman Paul Westerberg once sang.  Yet the real miracle of his legendarily self-destructive band is that it created masterful pop in spite of itself.  Success wrested heroically from seemingly inescapable failure:  that was the Replacements? magic, as the recent reissue of their first four releases reaffirms.  It still seems impossible that the most indelible of the four, 1984?s Let It Be, came from these booze-crazed gutter punks.  Along with a few bonus outtakes (including a wrenching alternate version of the sexual-confusion confession ?Sixteen Blue?) and covers (a tremblingly majestic take on the Grass Roots? ?Temptation Eyes?), this reissue captures the perfectly turned punk-pop bravado (?I Will Dare,? ?We?re Comin? Out?), the bleeding-heart letters-in-a-bottle (?Unsatisfied,? ?Answering Machine?) and the proud junk food (?Gary?s Got a Boner,? Kiss? ?Black Diamond?).  As critic Gina Arnold says in her liner notes, the set summed up the underdog worldview of fans who saw the band as their personal cracked mirror.  The band would subsequently sign to a major and make another top-shelf record (1985?s Tim), its last with guitarist and wild card Bob Stinson.  But the loser?s heroism of Let It Be was ? for the group and for its fans ? the end of an era.
_{WILL HERMES}

Tommy Stinson Interview.....


The Replacements opt for reissues over reunion

Fri Apr 18, 2008
 
By Wes Orshoski

NEW YORK (Billboard) - With 1982's "Sorry Ma, Forgot to Take Out the Trash," Minneapolis' famously ragtag band of misfits, the Replacements, began an inspiring, influential and ultimately anti-climactic journey that has come to embody the very spirit of rock 'n' roll.

Or, at least, the romantic notion of an American rock'n'roll band: four kids in a van making a play for fortune and fame. If they never really achieved either, the band's legend lives on, and has become bigger than ever.

Stoking that flame are archival specialist Rhino's new, outtake-laden reissues of the Replacements' first four albums ("Sorry Ma," "Stink," "Hootenanny" and their 1984 tour-de-force "Let It Be"), to be followed by reissues of the band's four major-label successors later this year. In rare interviews, frontman Paul Westerberg and bassist Tommy Stinson look both back and forward.

WHEN YOU LISTEN TO THESE REISSUES AS A BLOCK, WHAT DO THEY

SAY ABOUT YOU GUYS AS A BAND AND AS FOUR YOUNG GUYS?

Tommy Stinson: We weren't afraid to do anything in particular, and that was the beauty of it. And I think the outtakes kind of show that. Even though they're going to kind of bum Paul out, having his solo cassette demos out there, I think they really tell a part of the story, too. It really shows where he comes from and what he might have been thinking on his own, but was too scared to try with us as the band, because it was too naked, or whatever.

OF THESE FOUR, IS THERE ONE ALBUM THAT MAYBE MEANS A LITTLE

BIT MORE TO YOU THAN THE OTHERS?

Paul Westerberg: To me, they were all just one big long song. I guess "Hootenanny" is the one where we came to the decision -- or I did, at least -- that this loud/fast stuff is not going to get us anywhere, because that was the height of the hardcore movement, and we were on tour, and we were not the loudest and the fastest. I figured, "Well, we can't win that way, so we've got to go the other direction and tap the other vein of our influences." Not that "Hootenanny" is my favorite record, but "Hootenanny" was probably the one where we first started to become unafraid to do things.

SINCE THE BAND'S BREAKUP, THE REPLACEMENTS HAVE BECOME SORT

OF MYTHIC TO SOME FANS. DO YOU EVER GET LOST SOMETIMES IN THAT

MYTH?

Westerberg: I've distanced myself from it a great deal, and I've been sort of forced to embrace or re-evaluate it (with these reissues). I'll tell you this -- I did surprise myself when I listened to some of them. I thought, "Damn it, I was good. I was real. I know what I was saying, and this was real." Me and (late guitarist) Bob (Stinson) were 18, 19; (drummer) Chris (Mars) 17, Tommy 13. Bob and I at least understood that this was the only road up and out. We had no skill -- he was a cook, I was a janitor -- and it was like, "We make it in rock 'n' roll or we die trying."

Stinson: Here's my whole problem with the whole mythology of it all: When I get people coming up to me now and saying, "I saw this show way back when, and you guys were so f--ked up. You didn't even play any of your songs. It was the greatest show I ever saw." (Laughs) It's like, "Well, dude, that just sounds bleak. How could that possibly have been the greatest show you ever saw?" When somebody comes up and says, "I really liked a certain record or song, they mean something to me" -- that, to me, that's the mythology that we actually lived up to. I think we actually were a really good band at times. I think the songwriting speaks for itself.

PEOPLE REMEMBER THOSE SHOWS AS EITHER DRUNKEN TRAIN WRECKS

OR A THING OF MAGIC, WITHOUT MUCH MIDDLE GROUND.

Westerberg: Some nights, yeah, we never gave 100% -- that would be giving yourself to the audience. That would be on a level of someone like Elvis. We wanted (fans) to know that we were there for us, and you could like us or not.

MANY FANS DISMISS THE LATTER RECORDS AND POINT TO THESE

EARLY DISCS AS CAPTURING THE BAND'S TRUE ESSENCE.

Stinson: To each his own. Some of the people who like the latter stuff can't even stand the earlier stuff, because it just didn't sound very good. And that's the beauty of the whole catalog: We grew and changed, and for all intents and purposes, we were actually able to grow and change and go through all that shit without getting our legs cut off, like happens now. We didn't get very far, but we did our thing. I think we had a good little run.

YOU'VE REUNITED TWICE IN THE STUDIO IN RECENT YEARS. YOU'VE

SURELY RECEIVED A SIZABLE OFFER OR TWO FROM THE PRODUCERS OF

COACHELLA, SO . . .

Stinson: We actually talked about it again this year, and I think there was a consensus that, you know, maybe it wasn't the right time (to reunite), or maybe it is the right time. Paul and I were kind of in cahoots talking to them, talking to (his manager) Darren (Hill). There were some things thrown out, and there were other festivals that wanted it too, if we were going to do it. At the last minute, it just didn't seem like the right thing to do, so we didn't do it. But I think Paul and I have something to offer each other still. I think that's pretty obvious when we get together.

Westerberg: I'm very hesitant about dragging the name out there and what damage we could do to the legend. Whatever we did, someone would want something else. If I went up there straight, they'd want us wasted. If we were f--ked up, they'd want us to be this or that. But, I don't know. The records hold the key to the whole thing. So if I was ever going to play, I'd like to play once the whole shooting match is out, because I don't think I could physically get up there and bellow these 18 songs (from) that first record. That's just sheer youth there. I can't find that in a bottle or a pill. I'm just too creaky for that.

Reuters/Billboard

http://www.reuters.com/article/musicNews/idUSN1829664520080419?pageNumber=3&virtualBrandChannel=0&sp=true

Replacements Leaving Door Open For Reunion

April 21, 2008, 11:10 AM ET
Wes Orshoski, N.Y.

With the first phase of a long-awaited reissue campaign beginning this week, the Replacements are back in the spotlight 17 years removed from a messy breakup. Even more notable: principal members Paul Westerberg and Tommy Stinson aren't ruling out the possibility of a reunion.

Stinson tells Billboard the group has received lucrative offers to perform at Coachella and other major festivals, and that he and Westerberg were close to accepting this year. The group would have been rounded out by session drummer Josh Freese (replacing original drummer Chris Mars, who has retired from music to focus on painting), and an unnamed lead guitarist (replacing Stinson's late half-brother Bob, who died in 1995).

"We actually talked about it again this year, and I think there was a consensus that, you know, maybe it wasn't the right time (to reunite), or maybe it is the right time," Stinson says. "Paul and I were kind of in cahoots talking to them [and] talking to (his manager) Darren (Hill). There were some things thrown out, and there were other festivals that wanted it too, if we were going to do it.

"At the last minute, it just didn't seem like the right thing to do, so we didn't do it. But I think Paul and I have something to offer each other still. I think that's pretty obvious when we get together."

"I'm very hesitant about dragging the name out there and what damage we could do to the legend," Westerberg offers. "Whatever we did, someone would want something else. If I went up there straight, they'd want us wasted. If we were f--ked up, they'd want us to be this or that.

"But, I don't know," he continues. "The records hold the key to the whole thing. So if I was ever going to play, I'd like to play once the whole shooting match is out, because I don't think I could physically get up there and bellow these 18 songs (from) that first record. That's just sheer youth there. I can't find that in a bottle or a pill. I'm just too creaky for that.

The group's first four albums arrive in remastered, expanded form tomorrow (April 22) via Rhino. Reissues of the band's four major-label successors for Sire will follow later this year.


For extensive Q&A's with Westerberg and Stinson, visit Billboard.com tomorrow.

http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003791810

The next one ?????Hopefully not....


YOU'VE REUNITED TWICE IN THE STUDIO IN RECENT YEARS. YOU'VE

SURELY RECEIVED A SIZABLE OFFER OR TWO FROM THE PRODUCERS OF

COACHELLA, SO . . .

Stinson: We actually talked about it again this year, and I think there was a consensus that, you know, maybe it wasn't the right time (to reunite), or maybe it is the right time. Paul and I were kind of in cahoots talking to them, talking to (his manager) Darren (Hill). There were some things thrown out, and there were other festivals that wanted it too, if we were going to do it. At the last minute, it just didn't seem like the right thing to do, so we didn't do it. But I think Paul and I have something to offer each other still. I think that's pretty obvious when we get together.

Westerberg: I'm very hesitant about dragging the name out there and what damage we could do to the legend. Whatever we did, someone would want something else. If I went up there straight, they'd want us wasted. If we were f--ked up, they'd want us to be this or that. But, I don't know. The records hold the key to the whole thing. So if I was ever going to play, I'd like to play once the whole shooting match is out, because I don't think I could physically get up there and bellow these 18 songs (from) that first record. That's just sheer youth there. I can't find that in a bottle or a pill. I'm just too creaky for that.

Reuters/Billboard

http://au.launch.yahoo.com/080419/11/1pdts.html

http://www.mygnrforum.com/index.php?showtopic=112206

Excelent news, thankz.

HBK *

The Replacements Talking Reunion
Posted by Mitch Michaels on 04.21.2008

Alt rock pioneers might be returning...

With the first phase of a long-awaited reissue campaign beginning this week, the Replacements are back in the spotlight 17 years removed from their breakup. Even more notable: principal members Paul Westerberg and Tommy Stinson aren't ruling out the possibility of a reunion.

Stinson says the group has received lucrative offers to perform at Coachella and other major festivals, and that he and Westerberg were close to accepting this year. The group would have been rounded out by session drummer Josh Freese (replacing original drummer Chris Mars, who has retired from music to focus on painting), and an unnamed lead guitarist (replacing Stinson's late half-brother Bob, who died in 1995).

"We actually talked about it again this year, and I think there was a consensus that, you know, maybe it wasn't the right time [to reunite], or maybe it is the right time," Stinson says. "Paul and I were kind of in cahoots talking to them [and] talking to [his manager]. There were some things thrown out, and there were other festivals that wanted it too, if we were going to do it. At the last minute, it just didn't seem like the right thing to do, so we didn't do it. But I think Paul and I have something to offer each other still. I think that's pretty obvious when we get together."

"I'm very hesitant about dragging the name out there and what damage we could do to the legend," Westerberg offers. "Whatever we did, someone would want something else. If I went up there straight, they'd want us wasted. If we were fucked up, they'd want us to be this or that. But, I don't know. The records hold the key to the whole thing. So if I was ever going to play, I'd like to play once the whole shooting match is out, because I don't think I could physically get up there and bellow these 18 songs [from] that first record. That's just sheer youth there. I can't find that in a bottle or a pill. I'm just too creaky for that."

The group's first four albums arrive in remastered, expanded form tomorrow via Rhino. Reissues of the band's four major-label successors for Sire will follow later this year.

Wait, isn't Freese with NIN's?  What's with these guys switching from band to band.  Not that there's anything wrong with it, just seems odd.

Sounds cool as hell!  Would love to see that show!

Jesus Christ, I don't know how Axl does it.  Unreal.  1st Robin, now maybe Tommy.  I don't like where this could be heading.  :(

And Fortus says he doesn't want to tour this summer.... :nervous:

This doesn't mean anything.  Nothing has happened.  And Stinson has worked with the Replacements, Soul Asylum and other musicians on his own solo record and come back to GN'R.

I wouldn't jump to any conclusions.

Ali

I am not really worried at any of this tour mess from the band members. There  is still no release date for the album so i would have to assume they are going about their lives til a date is set. When a date is set I am sure that everything will work itself out. Maybe this is just good press. Maybe Robin with NIN and Tommy possibly doing a Replacements reunion is just a few other ways for their names to be out and about. You could go out on some crazy limb and say that this is just good cheap marketing of the groups members. This just seems to be guys that like to play music and have a good time doing that.

I hear ya, no reason to freak out like we did with Robin.  I just hope Tommy calls Axl and tells him his plans personally.  If not, THEN we can freak out.

Please don't post bullshit.

however this thread is about tommy and the replacements not fortus plans for the summer.. and btw long time no see chris

(http://gypsysoul.lunarpages.com/spin508a.jpg)(http://gypsysoul.lunarpages.com/spin508b.jpg)

(http://gypsysoul.lunarpages.com/spin508c.jpg)

(http://gypsysoul.lunarpages.com/spin508d.jpg)

(http://gypsysoul.lunarpages.com/spin508e.jpg)

(http://gypsysoul.lunarpages.com/spin508f.jpg)

(http://gypsysoul.lunarpages.com/spin508g.jpg)

(http://gypsysoul.lunarpages.com/spin508h.jpg)

(http://gypsysoul.lunarpages.com/spin508i.jpg)

(http://gypsysoul.lunarpages.com/spin508j.jpg)

http://www.nme.com/news/various-artists/36087

Speculation fodder.

Well, we know Stinson's plans..... I hope to catch this show too!

The Billboard Q&A: The Replacements' Tommy Stinson

April 22, 2008, 11:30 AM EST
Wes Orshoski

Paul noted that you and Chris Mars probably got a lot more emotional than he did while listening to these reissues, and going over potential bonus tracks. His point being that he never really left it behind, whereas you guys moved on to new bands and careers. I wonder, do find yourself going through something of a Replacements renaissance at the moment?

I guess to a degree. And, boy, he hit it on the head. He's been playing all that stuff live since we broke up. I haven't played any of it since then. I mean, I played a couple of songs with Paul when we got together once about two years ago, and played a couple songs together when he was doing that "Open Season" soundtrack. I haven't listened to it, thought about it or played it since we broke up, whereas he was playing those songs during that whole period. It makes perfect sense, but, no, I'm not really going through a renaissance [laughs]. That's a bit heavy handed. But, I have to say, it was really great to listen to that stuff, hearing my brother and I laughing in the background. That stuff, particularly, was kind of emotional to listen to.

Of the bonus tracks on the new CDs, are there any that you're particularly happy to see being unearthed?

You know, a lot of those outtakes that are on the first four [reissues] are things that I haven't heard in forever, and a lot of it was a lot of fun to go through. Peter [Jesperson, former manager, producer of the original four albums and the new reissues] had the arduous task of whittling it down and figuring out what was worth listening to and checking out. Because once we got all the scraps together, and once we got it all up, there was a lot of unlistenable stuff. But a lot of it was stuff that was really fun to listen to and go back to.

Any one track stand out?

Geez, probably more than one. "You're Getting Married," some of the rockabilly stuff. I had forgotten about "Oh Baby." It sort of shows that weird contrast that we sort of grew into, as things went on. There's some where Paul is wanting to be solo guy [laughs], to the rockabilly underpinnings of a lot of that stuff.

What does the Replacements -- that name -- mean to you? It is sort of a loaded thing for you?

No, not really, not at all. I'm proud of what we did, I respect what we did. It's kind of weird to think that it's gonna be 20 years since we broke up. It's so far back in the recesses of my mind -- except for this year, because we're going through all those outtakes and stuff -- that it kind of makes you go, "Oh, that's right. I was in that band." It makes you pause and go, "Oh, yeah, we did something back then." But I don't sit down and ponder it and I certainly don't get all giggly about it.

It seems like the myth of the Replacements has eclipsed the band itself. Do you sometimes get lost in that myth?

Certainly. Here's my whole problem with the whole mythology of it all -- when I get people coming up to me saying, "I saw this show back when, and you guys were so f*cked up. You didn't even play any of your songs. It was the greatest show I ever saw" [laughs]. It's like, "Well, dude, that just sounds bleak. How could that possibly have been the greatest show you ever saw? You must be really living a small life." Seeing that, thinking that was the greatest thing ever, as opposed to somebody coming up and saying they liked a certain record or song -- that they mean something to them. To me, that's the mythology that we actually lived up to. I think we actually were a really good band at times. I think the songwriting speaks for itself. I think that side would be accurate. I think people have built up the other side to be something way more than it was.

You were so young when you were in the band. Give me an example of a moment when you found yourself as an underage kid in a situation that you probably shouldn't have been in for a kid your age.

Sittin' on the trailer hitch of our van, as we pulled up to CBGBs, smoking a joint with some fuckin homeless guy named Cleveland. For all intents and purposes, I shouldn't have been talking to him -- because I didn't know him -- and, secondly, I probably shouldn't have been smoking anything with him either. It was kind of a strange, but awesome situation, because he was a very sweet homeless guy that wasn't like you'd think a homeless guy would be. That was my first real foray into what the streets of New York had to offer and it gave me culture shock at the same time.

When you listen to these reissues as a block, what do they say about you guys as a band, as four young guys?

I think it really shows -- especially those four records, and maybe even the first one more than the other three in the first batch -- where it all came from for us. Some of the stuff that caught me off guard, which I hadn't f*ckin' listened to in for-f*ckin'-ever, was the sort of Stones-y guitar interplay between Bob and Paul. As beat to sh*t as it was, it was a part of it that I never caught. I never really thought about it. But there were subtleties in that. There were subtleties in the sort of rockabilly underpinnings of that stuff that we didn't go into a whole lot, but went into enough, because that was sort of part of the musical background to some degree.

I think it really tells the story of what The Replacements were about. We weren't really afraid to do anything in particular, and that was that was the beauty of it. And I think the outtakes kind of show that. I think the sh*t that's gonna kind of bum Paul out -- having the solo cassette demos officially out there -- I think they really tell a part of the story. It really shows where he comes from, and what he might have been thinking on his own, but was too scared to do, or too scared to do try with the band, because it was just too naked or whatever.

What can people expect on the second batch of reissues?

We're going through it right now. Some of it's already been out there on "All for Nothing, Nothing for All." Some of it's pretty bleak, but we found some good stuff. And hopefully it'll be out sometime in the fall.

A lot of fans bellyache about the latter records, which have a fanbase of their own.

You know, to each his own. Some of the people who like the latter stuff can't even stand the earlier stuff, because it didn't sound very good. That's the beauty of it. That's the beauty of the whole catalog. We kind of grew and changed and for all intents and purposes we were actually able to grow and change and go through all that sh*t without cutting our legs cut off, like happens now. I heard Bono say in an interview that the music industry should take a long, hard look at itself and see what it's done, because if U2 had come out right now, they wouldn't have gotten anywhere. You know, we didn't get very far, but we did our thing. However much we left on the plate or left people to go through years later remains to be seen, but I think we had a good little run.

Is there a sense that you left things a little unfinished?

Nah. I think we left it before it left us, and I think that was the way to do it.

Between "Open Season" the two new tracks on "Don't You Know Who I Think I Was?," you and Paul have reunited twice in the studio in recent years. And I'm guessing that you've surely received a sizeable offer or two from the producers of Coachella, so...

Yeah. We actually talked about it again this year, and I think there was a consensus that, you know, maybe it wasn't the right time [to reunite], or maybe it is the right time. Paul and I were kind of in cahoots talking to them, talking to [his manager] Darren [Hill], and there were some things thrown out, and there were other festivals that wanted it too if we were gonna do it. At the last minute, it just didn't seem like the right thing to do, so we didn't do it.

According to Paul, there's pretty much zero chance that Chris Mars will be a part of any reunion. There's no chance of convincing him to return to the drum stool?

Nah. I think Chris is perfectly happy being an artist, and I don't think that he really likes playing drums. I think he's done with that, and that's kind of what he said to me when I talked to him about it. Originally, we were just talking about doing some songs together, and going into the studio, and he didn't even want to do that. He didn't even want to come play. He goes, "Look, man, I got my drum set in the basement, and I hate 'em, I don't even like to look at 'em. I haven't played 'em in three years. I've moved on from that." And it's like, "Fair enough." Honestly, for me, Paul and I finished out the thing as the only two guys left of the four, and I don't really think it's that kind of thing where I make a big deal about it if Chris didn't want to play. If we wanted to go and play some shows and call it the Replacements or whatever we choose, then we should do that anyway. And that's kind of what it's about. I don't think it really matters. I think Paul and I have something to offer each other still. I think that's pretty obvious when we get together.

Your brother died in 1995, years after being ejected from the band. For all of those fans who never had the opportunity to see your brother play live, what did they miss out on?

They missed out on the element of craziness that he brought. And he was probably the most musical element of those first four records, aside from the writing. We were a meat-and-potatoes rock band, in terms of our playing. And I think he was really the standout in all that in those early years. He really was an exceptionally good guitar player.

Complete interview here: http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003792309

And here is some of Paul's interview....

The Billboard Q&A: The Replacements' Paul Westerberg

April 22, 2008, 11:30 AM EST

When you and Tommy had reunited to record a few songs for the "Open Season" soundtrack, Sony Pictures' Leah Vollack was in the studio with you, when she was called on her cell phone. She quickly got rid of the person on the other line by saying, "I'm in the studio with the Replacements," at which point you and Tommy looked at each other somewhat shockingly, sort of unaware of the reality of the situation to fans. The Replacements, or the last version of which, was indeed in the middle of a reunion. That reality scared you?

Yeah, you know, the Replacements scare me. Tommy came over here [to Westerberg's home in Minneapolis] about a month ago, and we sat down and talked, and that was a scary thing, because, you know, so much has happened, and we've grown. Yet, it was the same goddamn conversation we had before we hired [final drummer] Steve Foley in the bar. So things change, and yet he was pitching me, like, "We should play and do all this," and I'd respond by saying, "Who's gonna play the f*ckin' guitar?" It's been the question from day one, since Bob left the band.

So we left it like that, sort of hanging there, sort of, like, "Well, we'll find that guitar player somewhere." But it's like, "No we won't." He's dead. And the drummer doesn't want to play. To me, if we've ever gonna do this thing, he should come and play drums. But he doesn't want to play drums anymore than a guy wants to get on a scooter or a skateboard after he reaches a certain age, and I can dig that. But my bit was a little bit more. And he said, "You have my blessing to go play," but, for me, without him playing the drums, it wouldn't be close. Me and Tommy, yeah, we're the frontmen in the end, and we had Steve and [latter era guitarist] Slim [Dunlap], who were just sort of hired hands. But Chris was a big part of the whole thing, especially in the beginning of the humor and the push-the-envelope chaos. He was very much one of us.

Paul, it really sounds like you want a Replacements reunion to happen.

Not as bad as Tommy [laughs]. When it came down to just me and Tommy [being interested in a reunion], my first thought was, like, "Okay, we're the Replacements, we'll do me and you, and we'll put the name on the ticket, and [then] we'll audition a bass player and a drummer for every single song, so it will be Tommy and Paul, and a cast of thousands. Ya know, THE REPLACEMENTS." We laughed about the idea, and thought about the reality of it, and it's like, "Is that gonna work? Nah."

To me, it has to be something like that, or some long lost soul that we haven't thought of yet to come in and man the helm. You know, they're going to release [the final four Replacements albums], too. And so if I was ever going to play, I'd like to play once the whole shooting match is out, because I don't think I could physically get up there and bellow these 18 songs [from] that first record. That was enough. That's just sheer youth there. I can't find that in a bottle or a pill. I'm just too creaky for that.

You don't think there's any chance you and Tommy could convince Chris to play one last tour?

I don't think so. If we did it, I'd probably have to play drums, and Chris would have to play guitar, something as absurd as that. He'd probably be up for that. But, you know, I don't want to put the pressure on him, and make it sound like, "I'm ready to go, as soon as Chris is." I'm very hesitant about dragging the name out there, and what damage we could do to the legend. Whenever we did, someone would want something else. If I went up there straight, they'd want us wasted. If we were f*cked up, they'd want us to be this or that. I don't know. The records hold the key to the whole thing. I wish they would have come up with some better pictures [in the packaging for the first four reissues]. I was disappointed that I had seen every one of the photographs before. I wish they had some new pictures. This was of course well before cell cameras and everything. That was the thing that built the band -- the legend -- that people would say, "Oh, god, you missed it?!" The photographs and the bootleg tapes. There's got to be tons of great pictures out there and stuff that maybe they'll try to hunt down for something else.

A few years ago, Restless Records reissued these four Twin/Tone albums, yet they did so without adding a single bonus track or extra liner notes, nothing. What was the point?

I don't even know if I was even aware of 'em. I was working on my own thing at the time. There's always been people working away at the little Replacements world, and I sort of stepped away from it for a long time and this is as close as I've come to stepping back to it. Restless and all that crap, it's just someone else putting out the same junk. Like, EMI will put out a Beatles record this Christmas -- you can bet on it. They're going to be pumping this crap out long after we're dead. But, no, it's great [laughs]. You said "bonus track." I stipulated in one interview that I was gonna put a disclaimer on the record, but I just sort of copped out and said, "F*ck it." See, they used to call 'em "outtakes," you know, "not suitable for airplay" or "not suitable for the 'buying' dollar,'" and I wanted people to know that everything that's called a "bonus" isn't necessarily for the better. I think, "Sorry Ma" was perfect at 18 songs, and to add 10 more to it, is, well, enticing to go and re-buy it, but I don't know that every one of those songs add to the record at all.

A couple years ago, Peter Jesperson, who produced these four reissues as well as their original counterparts, said in an interview that he had enough Replacements leftovers to compile a Replacements box. After the next wave of reissues, how much will be left?

I dunno. I got an armful and I threw 'em in the river, so that sh*t is not going to be around [Westerberg is referring to a famous story of the band stealing their masters from the Twin/Tone office and throwing them in the Mississippi River. They did indeed steal tapes and toss them in the river, but what was lost were several backup reels, and not much else of consequence]. I don't know what tapes exist where and when these songs came up, like these home demos that I supposedly gave to Peter. I don't remember doing that, but I remember sitting with my little boom box ... I have some stuff that I'm sitting on, which is a little later on in the band's career than the raw, cassette stuff. But, I don't know that it there needs to be a whole lot more out there.

Is there anything that you can't play anymore? Any songs that you can't do anymore?

Physically?

Yeah.

No. I have to warm it up a little bit, and I can always re-chord a song, or play a different chord that was on the record. I mean half the time, I don't remember what I played anyway. I can't play as fluidly, but that was never part of the act, I guess. That was something that was a little more important on record, but soloing or something like that is a little tough with the ring finger that's sort of dead. I was secretly hoping that it would end my guitar-playing life, so I would then be forced to do something else, music-wise -- you know, force myself to read music so that I could compose in that matter. But, alas, my finger came back good enough to play rock'n'roll, so it let me down, on one hand.

You don't have a label deal at the moment?

I do if I want one. I got a call from Vagrant the other day and they're ready any time I'm ready. And I've been asked to start my own label by Sony and others, like a production deal, where I would produce an artist, and release my own records as well. [Current manager] Darren [Hill] and I are kicking around the idea of selling the songs online, having like a song of the month club. That might be the best way.

Starting your own label seems like the last thing Paul Westerberg would want to do.

Yeah, well, it is, kind of. On one hand, it would be something that Darren and I could do together. I would be Jerry Wexler, and he would be Ahmet [Ertegun]. If there was the right band, I would like to go in one day and really mold a young group and help them, but I don't go out and check out things, and whenever I get sent a CD by a band, I listen for about 10 seconds, and if I don't hear it in the singer's voice, then I'm not interested. It has to come from the singer's voice. If it has the right quality, that's what gets me. So, one of these days...

It seems like there are a lot of fans of your music who have finally gotten into positions of power in the music business and they want desperately to work with you.

God bless 'em.

Complete interview here: http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003792311

A guide to the extras on the Replacements' new reissues by the guy who compiled them.

By CHRIS RIEMENSCHNEIDER, Star Tribune

Last update: April 25, 2008 - 12:01 PM
 
Corporate consolidation in the record industry has adversely affected many a band, but it actually benefited the Replacements. Yeah, of all the bands.

Minneapolis' famously almost-famous rock legends are being celebrated once again with last week's reissue on Rhino Records of their first four albums.

"It sort of all fell together and everybody got on board around the same time," explained Peter Jesperson, the former Replacements manager who compiled the reissues. "It was surprisingly easy in the end."

For diehard fans, the true value of these first four reissues is found in the 30 bonus tracks, including B-sides, outtakes, covers and demos. Jesperson started seriously wading through their old unearthed tapes way back in 1997 with Twin Cities producer Tom Herbers. He made a big push over the past year, coming up with an initial list of tracks and then getting final approval from the three surviving band members. Bassist Tommy Stinson voted against two tracks, singer/guitarist Paul Westerberg nixed another but drummer Chris Mars liked them all, Jesperson said.

There was one thing they all agreed on.

"Everyone had this unanimous reaction: 'Doesn't Bob sound great on these tracks?'" Jesperson recalled, referring to guitarist Bob Stinson, who died in 1995.

Here are the highlights among the 30 extra recordings, album by album:

"Sorry Ma, Forgot to Take Out the Trash" (1981)

"Raised in the City," "Shutup," "Don't Turn Me Down," "Shape Up" (demos) -- All four tracks were featured on the first cassette that Westerberg handed to Jesperson in May 1980. "If ever there was a magic moment in my life, it was hearing that cassette," the manager said. "The performance has an urgency to it, but there's also that great sense of fun. And Paul's phrasing and timing is on there, [proving] he was more or less born with that talent."

"If Only You Were Lonely" (Westerberg-only acoustic track, B-side to the first 45-rpm single) -- Jesperson recalled hearing Westerberg play this long-lost country-ish drinking ballad on a solo tour in the mid-'90s: "Half the audience was singing along to it, so obviously it lived on. You have to remember, in those days singles were still big deals. I think we sold more of the 45s than we did of the album."
"Stink" (1982 )

"Staples in Her Stomach" (outtake) -- A wry rocker about a centerfold from the same sessions as the original eight tracks on the EP. Said Jesperson: "We just didn't think it was quite as good as the rest, but it helps round it out here."

"Hey, Good Lookin'" and "Rock Around the Clock" (covers) -- These hits by Hank Williams and Bill Haley were staples in the band's live shows at the time. "People would get outright pissed when they'd play those songs," Jesperson recalled. "Punk-rock bands didn't do those sorts of songs back then. That was our parents' music. But part of [the band's] brilliance was they didn't care about any of that."

"You're Getting Married" (acoustic demo) -- Another solo track by Westerberg never issued. In the liner notes, Jesperson calls this one the Holy Grail for 'Mats collectors. "Paul was shy about showing these songs to the band, especially to Bob," he said. "We tried to record this one later for 'Hootenanny,' but I can still picture Bob playing it with his back to the band and obviously objecting to it. I felt privileged to have heard it, though. This is where I got scared of Paul's talent."
"Hootenanny" (1983)

"Treatment Bound" (alternate version) -- The rare case where the alternate is actually more polished-sounding than the one picked for on the record. "This is when we tried multi-tracking it in the studio, and it just didn't have the same feeling as the rougher version. Paul's original concept was to have me record him singing the song to the rest of the band for the first time, and capturing their reaction, but that didn't really work either."

"Lovelines" (alternate version) -- Famously lifted from the City Pages classifieds, this is the third of four freewheeling tries, featuring a few different, um, lyrics. "The first two takes really aren't very good," Jesperson said. "The fourth is what's on the record. This one isn't quite all there, but you can hear them starting to catch the wave."
"Let It Be" (1984)

"Perfectly Lethal" (outtake) -- "For whatever reason, the lyrics were never really finished. But there are like six or seven different takes of that song, so they tried. Tommy spent a lot of time going through them to find the most presentable one [for the reissue], and then we mixed it at Tommy's house. It's a good song, but I'm not sure if it would've fit the album."

"Temptation Eyes" and "Heartbeat -- It's a Lovebeat" (covers) -- These sugary pop songs by the Grassroots and DeFranco Family, respectively, offer more proof of the band's unpretentious musical alchemy. "There was nothing tongue-in-cheek when they did these songs," Jesperson said. "The only time they were tongue-in-cheek would be when they did a Jackson 5 cover, and that was only because they didn't have the finesse for that kind of R&B. Otherwise, they played 'em straight, which I think you can tell here."

http://www.startribune.com/entertainment/music/18174294.html?page=2&c=y

I've got pretty much all Replacements CD's. I really don't have the money to go out an buy all the reissues. If someone has purchased and listened to any of these, can they tell me if the extra tracks or quality is better than original? Don't mean to be rude about it but I already have a lot of stuff from them. I wish so badly they would form a reunion!!!!!!!!!!!!!

Tommy can go back to Guns anytime I'm sure. Or just have them open for the next Guns tour and Tommy plays in both bands. That would be my dream come true. :peace:

It's definitely worth it, they sound a lot better and the extra tracks are pretty good mostly.

5.4.2008

10 Quotes from SPIN?s Story on the Replacements

On the band?s origins: ?That was the thing about the Replacements: We were all nowhere ? we came from nowhere, we were going nowhere. And the band gave us something.? -Tommy Stinson

On the band?s first gig: ?All I know is that Bob and I were in the basement doing blow, and by the time we came upstairs, Chris [Mars, the band?s drummer] had already been ejected from the premises.? - Paul Westerberg

On the band?s notorious live shows: ?I figured out that danger was what people sought. And there was a certain danger that we were capable of that wasn?t your usual thing about destruction, or ?We?re going to hurt you.? It was: What if we get up there and played a song by Hank fuckin? Williams.? - Westerberg

On the death of original guitarist Bob Stinson: ?I think of him every single day. Mainly ?cause I got a ringing in my left ear from having him blasting away next to me all those years.? - Westerberg

On their shot at major success: ?When it came our turn, we visited the record distributors and met with the radio programmers and did all of that stuff. But, in the end, we just felt like we had to piss on the guy?s shoe. Look, we got to the party. But instead of embracing it, we huddled together in the corner and said, ?Fuck it ? let?s get out of here.?? - Westerberg

On the commercial aspects of the band?s last few albums: ?The goal became simplistic and unrealistic, which was to have a hit. And that?s where we died. We weren?t made of the stuff that makes popular music. The fact that we came up short is the thing that?s kept us interesting. We?ve retained the mystique. And I don?t know how, ?cause goddamn it, we tried. We tried to have hit records there at the end. And someone was looking for us that we didn?t.? - Westerberg

On the state of his relationship to Tommy Stinson: ?The answer to the million dollar question is yes, when Bob died, something died in me and Tommy, and we?ve never been the same since. And it?s always been awkward, and it?s always been unsaid and unsayable and strange and weird between us.? - Westerberg

On aging: ?When I listen to those first few records, I hear myself, and that guy is closer to being born than I am to his age right now. And I think, ?Could I go out and do that again??? - Westerberg

On a possible reunion: ?I told Tommy, ?Let?s have auditions. Let?s you and me go onstage and play 25 songs, and we?ll have a different guitarist and drummer come up for each song, and that?ll be the show.? That would be the only thing the Replacements could do to keep up the honor of the name, rather go and just cash it in.? - Westerberg

On the future of the ?Mats: ?If Tommy pulled up in my driveway in a flatbed truck with instruments and a band and the songs ready, on the right day, I might hop on and go. If it was this afternoon, I wouldn?t. I?ve gone each and every way with it, and I really don?t know anymore.? - Westerberg

http://www.yuppiepunk.org/2008/05/10-quotes-from-spins-story-on-the-replacements.html

Here is some of the interview...

Mon: 05-19-08

Interview: Paul Westerberg

Pitchfork: Talking to Tommy a couple of years ago, I got the impression that after all that hard work, after all those miles on the road, that what he's doing right now [as a member of Guns n' Roses] is in some ways his reward. Finally play arenas, get kept on a retainer...

PW: If you talked to him more recently you might get a different vibe. But you know, that's fairly true. It was a couple of years ago that he probably felt that. But now he's thinking more artistically. I heard a batch of his songs he sent me. I added a few things and sent it back. He wants to be more of an artist now. That's just the way it goes. You're a performer for ten years straight, then you want to go home and actually write a tune or whatever. But he more than any of us is sort of built for the stage. If he goes without performing for a long time then he can't stay still.

Pitchfork: He's a little younger.

PW: But when I was his age, 40 or 41...I was ready to hang it up at about 35. And I did. But I came back five or so years later. I needed six years off from facing an audience. I remember one show specifically, some college, and the applause stopped before I could even make it to the wings. I told myself, I've got to get the hell out of here. Nobody can miss you unless you go away. That's how it starts when you're a little baby band - you have no real applause. You get past the boos and jeers and bottles, then get to the point where the applause was so thunderous...it'd get to the point where we had given two encores and were in the dressing room, with Chris putting his hands over his ears, shouting, "tell the fuckers to go away!" Sure enough, they did.

Pitchfork: Famously, the last show the Replacements ever played, here in Chicago, was marked by this real sense of deflation. Like a balloon losing its air.

PW: We had to do that show, too. That was a make-up for what I did on radio. I thought I was on some college station, and of course I was on [Chicago radio mainstay] XRT. I played "Little Village" by Sonny Boy Williamson, with all the "motherfuckers" in it and everything, and we got in so much shit for that that we had to come back and play the Milwaukee Fest, too! [laughs] Not all bands know it when it's happening, but that last tour was our traveling farewell. It was not very fun, and by the end we knew it. By then, it was Steve [Foley] on drums and Slim [Dunlap], who apparently cared less about the band than he pretended to back then. He and I were already going our own ways. Tommy wanted to go solo. Everyone thinks it was me, but that's not true, really. That's essentially how the band sort of broke up. There was nothing I wanted to do other than what I was doing. It's not like my first solo record didn't sound "Replacements"-y. The shock was that Chris' and Tommy's records didn't sound more different from the Replacements.

Pitchfork: It's out of your control, but people always look to the singer as the leader of the band.

PW: It was that one fucking poster in Europe...if they ever make a movie about us, that was "the moment." The German promoter comes in and shows us the poster with me, "Paul Westerberg and the Replacements." In German or whatever. Tommy ripped it in half and said "that's fucking it" and stormed out. I thought, there it is, we're done.

Pitchfork: The reunion rumors have been pretty strong as of late. A couple of years ago you were supposedly approached to play Coachella...

PW: I guess so. I mean, we've been offered...Chris, he doesn't want to play. He's moved on with his life to the point where he won't move back and do this. So that leaves essentially Tommy and I. I don't think we would go back and use any of the other Replacements guys. We'd probably find someone else. That's what's kept us wondering, the magic question: who's going to come and play the lead guitar? We could dismiss it, like we did on Pleased to Meet Me. That was our fucking Let It Bleed, where I played all the guitar. But I don't know.

Pitchfork: People hear the records, and they hear 1981, or 1985, or 1989, but here we are in 2008 and it doesn't seem all that long ago.

PW: It's true. I've listened to all the stuff, and I'm constantly recording and playing down in the basement, and my voice is starting to sound really good lately. There's cracks and scratches in my voice that have been there since I was 19. It hasn't changed that much. It hasn't changed like Robert Plant, having that voice and now singing an octave and a half lower. Mine's a little different, but that screaming voice is still there. It's just a little embarrassing to put on for 40 minutes straight.

Pitchfork: Do the Replacements make you any money?

PW: A little bit. They asked me if they could use "Can't Hardly Wait" for a Toyota commercial. I sort of hemmed and hawed, because basically they don't have to ask my permission. They own the mechanicals, and they own half of the publishing, so if I say no they can do it anyway. That kind of stuff will generate a little income for me, the writer. The records have actually picked up in the last ten years, as far as sales go, so for as much as we put into them we're certainly getting it back. We never made any money on tour. None of us came out of the school of economics. We took it for granted that a rock and roll band gets ripped off. We've tried to shake that tree a couple of times, but what can we do? We never signed a contract with Twin/Tone. That haunts us this day. We were 19, 20-- Bob and I, the oldest and the smartest, we didn't know anything about contracts and shit like that. You look back, when you're sort of idle in your middle years, and think, we should have made some money.

Pitchfork: Is what your music has meant to so many any consolation for missed opportunities?

PW: Oh, yeah. I listen back, and I hear what's there, and I know in my heart, in my gut, that we were the real deal. No one can take that away. You can call us buffoons, or clowns or whatever. But when we wanted to, we were as good as anybody.

http://www.pitchforkmedia.com/article/feature/50618-interview-paul-westerberg

Blender >> JUNE 2008

(http://gypsysoul.lunarpages.com/blender0608.jpg)

Rhino Reissues, Expands Replacements' Sire Albums (http://www.pitchforkmedia.com/article/news/142313-rhino-reissues-expands-replacements-sire-albums)



/jarmo

New Paul Westerberg album w/ 49 minutes of music, on sale at Amazon.com for 49 cents.  That's right, 49 cents.

http://www.prefixmag.com/news/new-paul-westerberg-features-49-minutes-of-music-f/20075/

Replacements drummer Steve Foley dies
Wed Aug 27, 2008 5:41pm EDT

NEW YORK (Billboard) - Steve Foley, who played drums with the Replacements at the tail end of the alternative rock band's career, died during the weekend of August 23 in Minneapolis. He was 49. According to local media reports, Foley died after accidentally overdosing on prescription medication.

The 1990 selection of Foley, who played in such Minneapolis bands as Curtiss A, Wheelo and Snaps, as the substitute for original Replacements drummer Chris Mars has become the stuff of legend.

According to Jim Walsh's oral history "All Over But the Shouting," frontman Paul Westerberg and bassist Tommy Stinson bumped into Foley at a local bar and procured a ride from him to an audition. In the car was a copy of the brand new Replacements album "All Shook Down," prompting Westerberg and Stinson to look at each other and then exclaim to Foley, "You're already in."

Foley toured with the band until its final show on July 4, 1991, in Chicago's Grant Park. Afterward, he and his brother Kevin joined Stinson's band Bash & Pop. Of late, he was working as a car salesman in Minneapolis.

According to the Minneapolis Star Tribune, visitation will be held 11 a.m. Friday (August 29) at Washburn-McReavy Funeral Chapel in Edina, Minnesota, with burial to follow at Lakewood Cemetery.

Reuters/Billboard

---

 :(

R.I.P.




/jarmo

How very sad.  :'(

God bless his soul.

R.I.P.

Paul Westerberg posts two more tracks

By Eric R. Danton on August 29, 2008 11:58 AM

The former Replacements leader has been busy lately. In July (or, in his parlance, an extra-long June), Westerberg made available 49 minutes of new music for 49 cents.

Now he's back with two new mp3s he's made available here. The first, "Finally Here Once," is one compact song. The other, "3oclockreep," is 20 minutes of overlapping fragments, songs and, intriguingly, an outtake with Tom Waits from the sessions that resulted in "Date to Church," available on a Sire sampler released in 1989 and, soon, on a reissue of "Don't Tell a Soul."

The Waits portion features Westerberg, Waits and bassist Tommy Stinson messing around on "If Only You Were Lonely" and Waits singing some of "We Know the Night."

Both mp3s are available for $3.99; separately, the cost is $3 for "3oclockreep" and 99 cents for "Finally Here Once."

So, Paul. How about a tour? 

http://blogs.courant.com/eric_danton_sound_check/2008/08/paul-westerberg-posts-two-more.html

New Old Music: The Replacements: "Kiss Me on the Bus" (Demo) / "Photo" (Demo) / "Talent Show" (Demo) [Streams]

Sep 5, 2008

http://www.pitchforkmedia.com/article/download/145276-new-old-music-the-replacements-kiss-me-on-the-bus-demo-photo-demo-talent-show-demo-streams

oh i love kiss me on the bus :)

God, I would love that. Have you heard any of the new songs? They are supposed to be great and as classic as some of his stuff from 14 songs. I need to find some time to download because I really want to hear this stuff. Thanks for posting!

49:00 is excellent.

Where did you get the download? I tried the link above but it says it has been pulled from Amazon and some other place. I want to download bad. Thanks!

Maybe I bought it when it was available ;)

Maybe I'm shit out of luck then. Shiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiit! If you see something, anything, email me link or whatever please? I would appreciate it!

Bill Holdship's original liner notes for the new Pleased To Meet Me reissue can be read at:

http://metrotimes.com/music/review.asp?rid=24460

(http://metrotimes.com/sb/136269/50_MUSIC_Replacements.jpg)

Paul Westerberg's Replacements reissue four albums

BY KEVIN AMORIM | kevin.amorim@newsday.com
September 21, 2008

This is typical Paul Westerberg.

The singer-songwriter was paying his respects to the Replacements' second drummer, Steve Foley, a few weeks back. "I'm standing there at the casket looking at him, and then wafting over the PA comes 'Sadly Beautiful,'" Westerberg says. "OK, I gotta leave."

He wasn't expecting one of his songs from the final Replacements' album, 1990's "All Shook Down," to be played at such a somber event: Foley drummed on the group's last tour and accidentally overdosed on prescription medication in late August.

"It doesn't seem to get any easier," sighs Westerberg, who said goodbye to the band's original guitarist, Bob Stinson, more than a decade ago. But - here's the Westerberg twist - "I would have preferred Glen Campbell's new version of the song."

That's his self-deprecating way of dealing with his legacy - a legacy that gets dusted off this week with Rhino Records' deluxe reissuing of the legendary Minneapolis rock band's final four albums (the group was also known as the Placemats and, in shorthand, simply the Mats). Each disc has rare and previously unreleased tracks tacked on. (Rhino similarly released the band's earlier indie-label albums in April.)

"Are they coming out as one big thing?" he asks of the individual Tuesday releases. "Or are they rereleasing the last three or four records?"

Typical Westerberg. He has no idea.

He opens the Rhino package while on the phone at home - they sent him the post-production discs. "I have to take off my glasses to see the track listing," he says. "There are some good songs on these things."

Westerberg mentions "Tiny Paper Plane," an evocative rough cut from the final album. "This was from the era that they were seriously pushing us to compete with The Cult, and that's not the type of song that makes for band material," he recalls. "You know, if they send me some vinyl, I might put it on."

And maybe, just maybe these albums will turn on a new generation to the hard-partying, but always eloquent outfit that began at the very end of the 1970s and finished things with a final show in Chicago on July 4, 1991.

"They were a band that was made up of their own persons," says Peter Jesperson, who discovered, managed and co-produced the group's early work. "They liked what they liked and weren't embarrassed about it. It's a little bit like what Big Star did, that combination of Gibson guitars through Marshall amps and great melodies."

Jesperson, now senior vice president for A&R at New West Records, still marvels at the growth he witnessed during the early days - from "Johnny's Gonna Die" to "Go" and "Color Me Impressed."

"I had the best seat in the house," says Jesperson, who also produced the reissues. (There isn't much more fully developed Mats material left to release, he admits.) "They were real mavericks."

So will the college-rock standbys reunite, perhaps?

"I think we still exist in some sort of fragmented form," Westerberg says. "It's just a question of whether he and I can ever get together again ... that's how close we are, I can't even mention his -- name."

Typical Westerberg. He's talking about his longtime bassist and foil, Tommy Stinson. "One day Tommy wants to sue me, the next he wants to jam. I think he's in the jamming mood this week, but by the time he gets here we might just meet and fight."

Continue reading here: http://www.newsday.com/entertainment/music/ny-ffmus5847165sep21,0,7351711.story?page=1

1, 2, 3, 4

ooops

I turned Tommy into a can of tomato soup.

lol--a little stage magic.   Saw Tommy in St. Louis tonight with Soul Asylum.  Perfect night, beautiful weather and the band sounded great.  Tommy looked like he was having a great time.

I really want to buy the remasters, but am broke... :no:

Westerberg & Stinson together again

Posted on September 30th, 2008

By Chris Riemenschneider

I just got off the phone with Tommy Stinson, for an interview to discuss the four new Replacements reissues (look for an article in Sunday?s Variety A&E section, online over the weekend). He was down in New Orleans writing some songs with Dave Pirner. That was great news to hear, but even better was the mention he nonchalantly dropped into the conversation about being back in town last week to ?mess around? with Paul Westerberg and Michael Bland. Wow.

He sounded enthusiastic about the sessions and said, ?It was a lot of fun.? When I asked if they did any recording, though, he answered, ?Nah, that?s getting to first base. We?re sort of still in the dugout chewing gum.? As for the general state of the two former ?Mats mates relationship, he said, ?We?re good friends, and I?m sure we?re going to work together again.?

What do you think? Should we get excited about this, or file it under ?We?ll See???

http://ww3.startribune.com/blogs/poplife/2008/09/30/westerberg-stinson-together-again/

Bassist Tommy Stinson dissects the bonus tracks in the second round of 'Mats reissues.

By CHRIS RIEMENSCHNEIDER, Star Tribune

Last update: October 4, 2008 - 2:32 PM

Like a lot of things that involve rehashing the Replacements' legacy, Tommy Stinson admitted he was a tad skeptical about reissuing their eight albums with bonus tracks. In the end, though, he realized "you get a little more of the story of those records in those extra tracks."

After reissuing the Minneapolis band's first four discs in April, Rhino Records put out new versions of the final four albums two weeks ago with six to 10 bonus cuts apiece.

"We grabbed the best that there was, and some of it was still pretty rough," said Stinson, who joined the Replacements on bass when he was only 12 and stayed alongside frontman Paul Westerberg until the end (1991). "All the tracks we picked helped tell the story. You can hear the time and the moment captured. Whether it was a good moment or not is open to debate."

Stinson talked by phone last week from New Orleans, where he was writing songs with Dave Pirner of Soul Asylum, another band he sometimes plays in, along with Guns N' Roses. He also jammed with Westerberg in Minneapolis recently but described it only as "messing around." We'll see.

Here's how Tommy described some of the extras on the reissues.
"TIM" (1985)

"Nowhere Is My Home," an outtake from scrapped sessions with the band's hero Alex Chilton producing: "It wound up being probably the best track of those sessions. It was one we had played quite a bit before it came time to record, so when we did record it, we were probably kind of sick of it.

"We were inspired to work with Alex, because we were such big Big Star fans. Like so many things, what it was supposed to be and ended up being wound up completely different, and in this case it wasn't all that fruitful."

Continue reading here: http://www.startribune.com/entertainment/music/30190319.html?page=1&c=y

From Billboard...

Westerberg, Stinson 'Mess Around' In Minneapolis

October 06, 2008

Jonathan Cohen, N.Y

Westerberg's manager, Darren Hill, confirmed the sessions to Billboard but added there are "no plans beyond that right now."

http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003870797

RollingStone (mag) >> Issue 1064 >> October 30, 2008

REVIEWS REISSUES & RARITIES

The Replacements
Tim Rhino

RS Rating:  Four Stars
Average User Rating:  Four and a half Stars

Midwest punks broaden their sound with a barfly classic

Released in 1985, Tim caught a great American garage band stretching out, working Big Star pop and Fifties-style rock into a mix of punky abandon and regular-dude romanticism. This version ? reissued along with three other 'Mats albums, none of which is quite as tuneful as Tim ? brightens the sound and adds six bonus cuts, including a bare-bones version of "Here Comes a Regular," Paul Westerberg's moving acoustic ballad about directionless barflies. Rarely did Westerberg write so poignantly, and Tim marked the height of the band's powers ? it was its final album with Bob Stinson, the notoriously soused guitarist who helped give the group its lovably shambling sound.

CHRISTIAN HOARD
(Posted: Oct 30, 2008)
http://www.rollingstone.com/reviews/album/111437/review/23589295/tim

Cool song and you've gotta like Tommy.  :yes:

Bash and Pop, "Loose Ends"

http://www.youtube.com/watch?v=cyirpNZyWyo

Just got my Replacement CD replaced!

i dunno if it's been mentioned but what the hell happened to tommy's website?

Tim rocks! I wish they would get back together.

An interview with Tommy and Paul Westerberg, here is some of it....

'We kicked a lot of doors open'

Shambolic, gifted and drunk - the Replacements staggered their way to the edge of fame in the 1980s, only to realise they didn't want it. But their sound - and influence - lives on.

The Guardian, Friday October 24 2008

Westerberg's creative division caused considerable internal tension. Tommy Stinson recalls that the band, particularly Bob Stinson, were uncomfortable playing Westerberg's more introspective material. "We were full of testosterone, drugged-up drinking kids, and here's Pauly with some fucking torch ballad. It was like, 'Who wants to hear that shit, dude?'"

Looking back, Westerberg can see the irony. "It's funny now to see [the reissues] with all my home demos considered deluxe, extra bonus, blah blah blah. At the time those songs were looked at like, 'This isn't rock'n'roll. Take this back home, Paul, and keep it in your basement.' Twenty years later, of course, that's the stuff they're trying to sell. It was frustrating at the time, but I lost myself in the whole fervour of the noise, the loud amps, loud clothes and louder girls. That was as much a part of me."

As they quickly established themselves as one of America's foremost alternative rock bands, they also earned a reputation for being notoriously undisciplined, usually drunk and downright wasteful. "People would come up to me and say, 'Man, I saw you once, it was the greatest show I ever saw - you were so fucked up you didn't even play any of your own songs!'" recalls Tommy Stinson. "And I'd think, 'Why would that be a great show? What made that so good for you?' Chances are it was terrible."

Following 1984's Let It Be, their fourth album for TwinTone and arguably their peak, the Replacements made the leap to a major and signed to Sire. As they watched contemporaries and tourmates such as REM slip into the mainstream, they, too, engaged in sporadic attempts to "serious up". Bob Stinson - a heavy drinker - was by 1985 no longer stable enough to make a regular contribution and was sacked - "The most painful thing I ever had to deal with," according to his brother - and the loss of his wild guitar runs levelled the sound out into something a little less primal and thrilling. Though the songwriting was frequently still superb, the later albums suffered from trying to perform an impossible balancing act: trying to make records that might sell without losing the sense of unpredictable wildness that was what made them attractive. Westerberg nailed the dilemma in the song I Don't Know, from the Replacements' second major label album, Pleased to Meet Me: "One foot in the door," runs the chorus, "the other one in the gutter."

"We embraced the idea of having a hit, but the thing that always got us was our personalities," says Stinson. "We were oil to the industry's water. We just couldn't play that game. Fundamentally speaking we were all doing it for age-old reasons - girls, drugs, fame, fortune - but as you go along and you see people like REM getting successful, and you see what it turns them into, you turn away from it a little bit. There may have been a subconscious self-destructive streak, sure, but when you see what happens to people, and what they have to do to get there, you realise it's maybe not worth whoring yourself out." Jesperson reckons they were simply "scared shitless" of success.

The Replacements fell apart in instalments. Following Bob Stinson's departure, Chris Mars left in 1990, having made only sporadic appearances on the band's final album, All Shook Down. At the end, only Stinson and Westerberg were left standing, surveying a few golden chances that had slipped through their fingers.

"Like any good, young, stupid idiot of a band, we had no idea when we were at our peak," says Westerberg. "A serious amount of money was thrown at us later on, but we were really drunk. Ten thousand people would show up to hear [the song] Alex Chilton and could not believe the kind of monstrosity we were on stage. The label didn't know what they had, but sadly I don't think we did either until it was too late. When we started to slide downhill we thought, 'Oh my God, is that it? How come there's less people this time? How come we have to play a club instead of an arena?' I'm totally fine with it now. I can laugh at it. We just weren't cut out to be pop stars. We got to the party and we saw it wasn't for us."

Yet despite Stinson's current day job playing bass in Guns N' Roses and Westerberg's increasingly off-radar solo pursuits, you sense that neither has quite succeeded in putting the Replacements to rest. The day before we speak, the pair were playing together in Minneapolis (with a new drummer and guitarist in tow; Bob Stinson died in 1995 while Mars has retired from music), kicking around the ashes of the Replacements' past and contemplating its future. They played old hits-that-never-were like I'll Be You and Can't Hardly Wait, some new Westerberg and Stinson songs, and "a little medley of Rocky Top Tennessee and Won't Get Fooled Again which I thought had something going," says Stinson.

It was, says Westerberg, "fun-ish". Stinson concurs. Promoters are waving tempting sums under their noses for a reunion tour and few fans would begrudge them a second tilt at it, but there's an obvious reluctance to commit to anything. Westerberg claims he's unafraid of the band's legacy - "none of this is sacred, holy stuff" - but acknowledges "there's a missing element. Tommy has become very grown up and efficient, and I feel I have to bend the other way to add the extra let's-make-fools-of-ourselves element to make some magic. I sat there and pondered for a moment and said the unspeakable words: 'Perhaps this requires alcohol.' And at the moment I'm not drinking."

Instead, after Glen Campbell covered the Replacements' Sadly Beautiful on his new album, Westerberg is busy writing songs for the next Campbell record - "I called my manager and said, 'Tell Glen I'll be his next Jimmy Webb' and he took the bait" - while Stinson has his finger in "too many fuckin' pies". At 48 and 42 respectively, they're adopting a tentative wait-and-see approach. "Certainly Tommy and I could go around as the Replacements and draw 10 times more and make some money," says Westerberg. "But I'm not there yet, I gotta say." Perhaps the same strange, self-defeating spirit of skewed nobility and fool's honour that prevented the Replacements ever fully grasping the nettle of fame and fortune may yet prevent them from clearing up any unfinished business.

http://www.guardian.co.uk/music/2008/oct/24/popandrock1

hey guys i remember reading an article/review/interview of tommy
where says that in the final replacement's show tommy joked about an axl impersonation

does anyone have it or can find it?

I have this show. PM me for details!

tell us about it :)

Paul says "Hey anybody want to see my Axl Rose impression?" and then they bust into Waitress in the Sky. Only have the audio and not the video so not sure exactally the signifigance.  :P

Same here, audio only. Great show mind you.

oh, i thought it was yommy who did the impression :P

Four Unheralded Pop Gems

By Andy Whitman
on December 22, 2008

Unless you're a music geek, you're probably unfamiliar with these artists. And that's too bad. They deserved better. All of them made music that recalled more famous artists/bands. And all of them made music that was the equal of the more celebrated popsters.

Bash & Pop -- Friday Night is Killing Me (1993)

This is the best of the post-Replacements album. That's blasphemy, I know. Paul Westerberg has had an uneven but occasionally great solo career. And I like Paul Westerberg. But I like Bash & Pop better. This was Tommy Stinson's short-lived band, and Friday Night is Killing Me is their one and only album. Yes, it's derivative. It sounds like The Replacements, which means that it also sounds like The Stones and The Faces at their most lubricated and ragged; balls-to-the-wall Blooze Rock. What's different is the ambivalent nature of the songs. There's a desperation to these party tunes, and Friday night doesn't always sound like such a fun time. The album got no label support, and it sank like a stone upon its released in 1993. If you're a 'Mats fan, do yourself a favor and try to track it down anyway.

http://www.pastemagazine.com/blogs/whitman/2008/12/four-unheralded-pop-gems.html

What's the general consensus on The Replacements' best album? They're on my "to listen" list as of yet.

Either Tim or Don't Tell A Soul..... though the whole catalouge is great.

The Popstream: The Obligatory Replacements Post

Posted by Nate Patrin at December 29, 2008

Let's face it: you don't need me to tell you the history of the Replacements, about how great they were and how they put Minneapolis rock on the map and all that, since we get some reminders about it in our local press something like every other month and this blog is named after one of their songs, ferchrissakes. And then on the other hand, I wouldn't be able to look myself in the mirror if I were to play the irritating contrarian, and claim that they're not that big a deal and that I'm totally sick of hearing about 'em and that we need to focus on what's happening in our scene now instead. Because as easy as it is for me to take the 'Mats for granted when I read about them, it's pretty damn difficult to when I listen to 'em. Basically what I am saying here is that it is good to just listen to the Replacements every so often, maybe ruminate on their influence or just completely ignore it if you want and simply grin like a dork at the way Paul yells "the radio's blastin', turn that shit off!"

Now, three brief observations about this clip, which was videotaped during a 7th St. Entry show in 1981:

1) Sandwiched between Sorry Ma classix "Takin' a Ride" and "Careless" is a song called "Staples in Her Stomach", which wasn't made widely available until the reissue of Stink earlier this year. It's a mystery to me why it was never actually released back in '81, since it fits Stink's obnoxious fun character perfectly and has a murder-death-kill guitar solo.

2) Tommy Stinson is somewhere between 14 and 15 years old in this clip. When I was 15 I was trying to figure out how to make Ryu do a dragon punch in Street Fighter II.

3) Everyone likes to go on about how drunken and crazy and sloppy and chaotic their live shows were, but here they're totally fucking laser-focused and sound every bit as good as they did in the studio. I guess choosing between this and bearing witness to Bob naked in a trash can is difficult in a way, but this makes me wonder just how consistently good they actually were live.

http://www.youtube.com/watch?v=0QbwqO6B3Wc

http://blogs.citypages.com/gimmenoise/2008/12/popstream_replacements.php

Tim/Pleased To Meet Me

Yeah, I have to throw "Let it Be" in the mix also.

To truly get hooked just get the greatest hits "Dont You Know Who I Thought I Was" then go to the individual albums and learn the more obscure stuff.

The Very Best of Paul Westerberg & The Replacements
 
(http://www.musicdispatch.com/item_gif/00691036.gif)

Series: Guitar Recorded Version 
Format: Softcover - TAB
Artist : Paul Westerberg
Artist : The Replacements
 
This collection features 15 of the very best from the seminal Minnesota alt-rock band, as well as gifted singer/songwriter Paul Westerberg's solo releases. Includes: Alex Chilton ? As Far as I Know ? Bastards of Young ? Can't Hardly Wait ? Color Me Impressed ? Dyslexic Heart ? Here Comes a Regular ? I Will Dare ? I'll Be You ? Johnny's Gonna Die ? Let the Bad Times Roll ? Merry Go Round ? Shiftless When Idle ? Skyway ? Unsatisfied.

 
$19.99 (US)
Inventory #HL 00691036
ISBN: 9781423492917
UPC: 884088502119
Width: 9.0"
Length: 12.0"
162 pages 

(http://clicksmilies.com/s1106/musik/music-smiley-017.gif) Tommy on the right ... Bobby on the left (http://clicksmilies.com/s1106/musik/music-smiley-017.gif)  :headbanger:

Debbi Calton*
The Rock Star Nephew Tommy Stinson as a VERY young man. See him in his latest incarnation along with Emily Jane Roberts and others at The Note in West Chester on Saturday 8/13. And the new record ONE MAN MUTINY comes out the end of this month. Woo Hoo!

Replacements '81 I Hate Music/Stuck In The Middle
http://www.youtube.com/watch?v=nBh5ZtATqOY&feature=share


*Debbi Calton is not only married to Tommy's fianc? Emily Jane's uncle, Chip Roberts, she is also a Philadelphia DJ on 102.9 WMGK.  http://www.wmgk.com/shows/debbi-calton/home.aspx

I recommend following/liking her on twitter and facebook.  : ok:

http://twitter.com/#!/DebbiCalton     @DebbiCalton
http://www.facebook.com/pages/Debbi-Calton/135191386568541?sk=wall

Twin Cities music hero Slim Dunlap hospitalized by a stroke

February 20, 2012

Just one day after a legendary Minneapolis band finally reunited following a member's health scare, one-time Replacements guitarist and quite possibly the nicest man in the local music scene, Slim Dunlap, is in the hospital recovering from a severe stroke. His wife Chrissie Dunlap (a former First Ave staffer, like Slim) reportedly wants to get word out on his condition for the many concerned well-wishers, so she posted this on her Facebook page late last night:

?Bob is in the SICU at HCMC. I am not going to sugarcoat this -- this morning he suffered a right middle cerebral artery stroke. He then fell and hit his head, resulting in a left vertebral artery dissection and a right subarachnoid hemorrhage.

"The good news is that he is sharp and aware, his speech is fine, and all of the nurses and doctors have commented on his unique sense of humor. The bad news is that he cannot move the right side of his body and will be in for some serious rehab. They will be giving him more tests tomorrow to determine the extent of the damage. I will try to post updates as we learn more. Louie will be with him all night and I will be back there tomorrow. We don't need a thing but your good wishes for his full recovery.?

A veteran guitarist from several of Curtiss A?s bands, Bob ?Slim? Dunlap went from working as a janitor at First Ave to appearing on MTV and opening for Tom Petty when he joined the Replacements just before the release of 1987?s ?Pleased to Meet Me.? Legend has it he initially turned down the offer.
After the Replacements? breakup in 1991, he released two critically praised and still cult-loved mid-'90s albums, ?The Old New Me? and ?Times Like This.? He was not invited to play on the two ?new? Replacements songs issued on a 2006 anthology. True to form, he said at the time, "I never got a call, nor would I have expected one,? and he graciously added, ?It's really neat they put aside their little squabbles and did it."

Dunlap still regularly gigs around town at Palmer?s Bar and other low-key places, occasionally getting invited to more high-profile shows such as opening for Son Volt at the Minnesota Zoo in 2009. He celebrated his 60th birthday in August at the King?s Wine Bar second anniversary bash, where his old bandmates from the ?90s showed up (unrehearsed) to back him as a birthday surprise. ?Let?s do it again on my 70th,? Slim declared at the end of the set. All those in attendance agreed to hold him to that.

http://www.startribune.com/entertainment/blogs/139759503.html