Tag: paul westerberg

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The Replacements at Midway Stadium, St. Paul

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I drove 400 miles, heading up Interstate highways from Chicago to St. Paul, Minn. Other people came from as far away as San Francisco; Vancouver, British Columbia; and Manchester, England. This was a pilgrimage. And these were Replacements fans.

The legendary, beloved 1980s rock band reunited for three shows last year, including a gig that I reviewed and photographed at Riot Fest in Chicago. A few more concerts followed this year, along with an appearance on The Tonight Show. … And now — finally! — the reunited “Mats” were playing on their home turf, the Twin Cities.

I arrived in St. Paul on Friday, Sept. 12, with a couple of friends from Chicago. Replacements tunes were blasting on the stereo in a backyard in St. Paul, where we met up with some other fans for a barbecue and party. I heard talk about people going to visit the old Stinson family house, where the Replacements once sat on a roof, posing for the cover of their album Let It Be.

At the end of the night, I stopped at the Parkway Theater in Minneapolis, where a documentary, Color Me Obsessed, had screened earlier. I got there in time to see a few local bands paying tribute to the Replacements and raising money for former Replacements guitarist Slim Dunlap, who suffered a stroke. A clearly inebriated guy in the audience enthusiastically pounded his hands on the stage to the beat.

On Saturday, the shuttle van from the motel to Midway Stadium stopped at a liquor store. And then everyone who was crammed into the van sang “Kiss Me on the Bus.” By the time we arrived in the parking lot of the minor league ballpark, it was filled with tailgate parties. Someone was flying a flannel shirt on a pole, like it was a flag for the Replacements nation. And plenty of people were wearing flannel shirts.

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When the stadium opened, my friends and I happened to be standing right near some entry gates barely anyone else had noticed. We dashed through and staked out a spot about a dozen feet back from the stage. We held our spot during the enjoyable opening sets by Lucero and the Hold Steady. After the Hold Steady were done, the crowd suddenly got much tighter as people pushed forward — including a few young guys who made it clear that they were eager to mosh. “This is a punk show!” they announced to the mostly older Replacements fans.

St. Paul Mayor Chris Coleman stepped out onto the stage and declared that it was Replacements Day in the city. A few minutes later, the Replacements made their entrance, wearing checkered suits and roaring through some of the earliest and roughest punk songs. The crowd around us erupting into spasms of waving arms, pogoing, pushing and the shouting of lyrics.

I did not take photos with my camera at the concert, but I did grab a few shots on my cellphone:

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(Better photos are posted in the Minneapolis Star Tribune’s gallery and on the Current’s website. And check out fan LOV2ROK2PJ’s YouTube videos of the whole concert.)

After a few songs, Replacements singer-songwriter-guitarist Paul Westerberg mumbled, “Sorry it took us so long” — seemingly offering an apology to the Twin Cities for taking so long to play a reunion show there. Or maybe more general regrets for disappearing for so many years? Bassist Tommy Stinson shot back: “No, you’re not.”

The concert was pretty similar to the other ones that the Replacements have played since reuniting, including last year’s Riot Fest show in Chicago. The band — Westerberg and Stinson, joined by two new members, drummer Josh Freese and guitarist Dave Minehan — was a bit tighter than they were last year. But not too slick, thankfully. A big part of the Replacements’ charm is the way they somehow add just enough sloppiness, just enough rough edges. It wouldn’t be so great if every note were perfect. Westerberg didn’t bother singing every word, sometimes letting the audience fill in the ones that were missing. Westerberg and Stinson smiled a lot, making it obvious that they were having fun. During “Kiss Me on the Bus,” Westerberg stepped over to Stinson and, after looking at him for a moment, grabbed him and kissed him on the mouth.

The first encore began with Westerberg playing an acoustic guitar by himself and singing “Skyway.” When the rest of the band returned, they tossed on personalized jerseys from the St. Paul Saints, the baseball team that plays in Midway Stadium. Westerberg joked about how silly it was. Then came two of the Replacements’ greatest songs, “Left of the Dial” and “Alex Chilton.”

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The loud applause coaxed the band back for a second encore, with the song “Unsatisfied.” It looked like the band was ready to play one more song — probably “I.O.U.,” which was written on the set list sitting on the stage — but Westerberg was ready to call it a night. He went over to Stinson again and pulled him into a bear hug before leaving the stage. Stinson threw his bass across the stage, and a roadie grabbed it as the band departed.

This was the last event that will be held at Midway Stadium, which is scheduled for demolition. A few fans grabbed chunks of grass from the ground and took them out of the ballpark as souvenirs. This was the biggest concert the Replacements have ever played in Minneapolis-St. Paul. Who knows if they’ll ever play there again? Whatever. At least, on this one glorious night, it felt like the Replacements were the world’s greatest rock band.

SET LIST:

Favorite Thing
Takin’ a Ride
I’m in Trouble
Don’t Ask Why
I’ll Be You
Valentine
Waitress in the Sky
Tommy Got His Tonsils Out (with Jimi Hendrix’s Third Stone From the Sun)
Take Me Down to the Hospital
I Want You Back (Jackson 5 cover)
Going to New York (Jimmy Reed cover, with Tony Glover)
Color Me Impressed
Nowhere Is My Home
If Only You Were Lonely
Achin’ to Be
Kiss Me on the Bus
Androgynous
I Will Dare
Love You Till Friday / Maybelline (Chuck Berry cover)
Merry Go Round
I Won’t
Borstal Breakout (Sham 69 cover)
Swingin’ Party
Love You in the Fall
Can’t Hardly Wait
I Don’t Know / Buck Hill
Bastards of Young

ENCORE:
Skyway
Left of the Dial
Alex Chilton

SECOND ENCORE:
Unsatisfied

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Replacements reunion

L99A4116For some reason that I cannot recall, I did not see the Replacements when I had a chance to see them play at a small club, Mabel’s in Champaign, circa 1986. I was a student at the University of Illinois, a fan of ’60s music just beginning to discover that there was such a thing as new bands making cool records. The Replacements had just released their terrific album Tim, and I had just discovered the band. I vaguely remember having some lame excuse for not going to that show … not having enough cash for the measly cover charge, or maybe having too much homework. Something like that. Looking back, it’s one of the concerts I most regret missing.

Luckily, I did get to see the Mats a couple of times before they broke up: one show at the Aragon, and then the 1991 concert that turned out to be the final Replacements gig ever — until now, anyway — when they finished unceremoniously, handing their instruments over to their roadies on the Petrillo Bandshell stage in Chicago’s Grant Park. As I recall, both of those shows were pretty good, but I felt like I’d missed the real Replacements — the earlier lineup of the band, which was famous for playing sloppy, drunken, raucous but often brilliant gigs. Maybe I was just feeling envious of the people who could say, “I saw them back then.”

When the Replacements made the surprise announcement that they were reuniting for three Riot Fest concerts in Toronto, Chicago and Denver, it wasn’t the least bit surprising that people immediately started debating whether this was really the Replacements. True, this is not the same band that played those legendary gigs, like the one captured on the “official bootleg,” The Shit Hits the Fans. And no one has a time machine to take us back to one of those gigs. But this was the Replacements’ driving force, singer-songwriter-guitarist Paul Westerberg, reuniting with another original member, bassist Tommy Stinson, and playing Mats songs. So what if the other musicians (drummer Josh Freese and guitarist Dave Minehan) were new guys?

If you had any doubts that this was actually the Replacements, they should’ve been erased by the sight and sound of these guys onstage Sunday night at Riot Fest (Sept. 15) in Chicago’s Humboldt Park. Westerberg’s face frequently broke out into a grin. It was obvious both he and Stinson were having a blast as they tore through some of the hard-edged garage rock songs they played together as teens a few decades ago. In the years since the Replacements broke up, Westerberg has been a mercurial figure, rarely giving interviews, sporadically putting out solo music and giving little hint that he had any interest in ever doing a Replacements reunion. But he did not give off the air of someone who was just going through the motions or reluctantly taking the stage. He looked like he was reveling in the moment.

The Replacements powered through their harder-rocking songs. Videos and recordings of the band’s Aug. 25 show in Toronto showed that this Replacements lineup was already sounding tight, and they clicked once again Sunday during their triumphant return to Chicago, the city where the old Mats broke up onstage. But it wouldn’t be a true Replacements gig without at least a little bit of sloppiness, or some goofy offhanded remarks by Westerberg.

As he flubbed the lyrics to “Androgynous,” Westerberg said, “I forgot the fucking words,” and laughed at himself. During “Swinging Party,” he asked Minehan to change the tone of his guitar. “Could you lose that Cure thing? That vibe,” he said — and then, before getting back into the song, he blurted out, “I don’t know what the second verse is. … I got it, I got it, I got it.” At another point during the show, Westerberg did a bit of Tarzan dialogue.

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Aside from those asides, Westerberg reminded me of what a great vocalist he is, delivering his memorable turns of phrase with such natural ease and emotion. At times, he would let himself fall a beat or two behind, slipping back into the melody with timing something like a jazzy lounge singer.

When the Replacements played a frenzied cover of the English punk band Sham 69’s “Borstal Breakout,” some slam dancing broke out in the crowd near where I was standing. Young guys in black punk-rock T-shirts started flinging themselves at one another, and the middle-aged Replacements fans standing nearby moved back to give the crazy kids some space (and to protect themselves from getting slammed).

The high points for me were the Mats classics “Left of the Dial,” “Can’t Hardly Wait” and “Bastards of Young,” which this band — Westerberg, Stinson, Freese and Minehan, or whatever you choose to call them — played with all the youthful spirit of the old Mats. It wasn’t exactly like going back with a time machine, but it was the closest thing available to that.

Set list: Takin’ a Ride / 
I’m in Trouble
 / Favorite Thing
 / Hangin’ Downtown / 
I Don’t Know
/ Color Me Impressed
 / Tommy Gets His Tonsils Out
 / Achin’ to Be
 / Androgynous (with a bit of Hank Williams’ Hey Good Lookin’) / 
I Will Dare / 
Love You Till Friday/ Maybelline
 (Chuck Berry cover) / Merry Go Round / 
Wake Up
 / Borstal Breakout (Sham 69 cover)
 / Little Mascara
 / Left of the Dial / 
Alex Chilton / 
Swinging Party / 
Kiss Me on the Bus
 / Waitress
 in the Sky / Can’t Hardly Wait / 
Bastards of Young / 
Hold My Life / 
I.O.U.

See more of my photos of the Replacements at Riot Fest.

(In the next few days, I’ll be posting photos of other bands I saw at Riot Fest, along with a recap of the festival.)

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March and April 2005 concerts

The Underground Bee has been out of commission for a month or so… I was too exhaused by the big SXSW 2005 extravaganzato pay much attention to updating this site. It’s time to catch up. But first, here is an actual letter to the editor I received recently. (The authenticity of the signature is open to question, however.)

DEAR SIR,

I have perused the “Underground Bee” Web site, and I have to admit I am quite disappointed. There is much blathering on about Rock Bands and nary a mention of honey, beeswax, hives, drones, queens and such. I found a reference to something called “Bee Thousand,” but did not understand its meaning. In the future, please try to add items that might be of interest to the striped population.

Sincerely,
Buzz Aldrin

Well! I must admit I keep promising to expand this site’s purview beyond the aforementioned “blathering on about Rock Bands,” without fulfilling said promise. One of these days… I promise. I am far behind on my bee research.

Now, back to the blathering… Some recent concerts:

MARCH 25 — Orchestra Baobob at the HotHouse. This was the third time I’ve seen this fantastic band from Senegal. The grooves sounded as great as ever. Everyone was moving on the dance floor. PHOTOS.

APRIL 1 — The Kills at the Double Door. I have to plead ignorance about the music of the Kills  — I just listened to a little bit of their new album online as I decided whether to see this concert. I was intrigued when some critics compared the Kills to P.J. Harvey. I’m not sure that I see that much of a connection, but the Kills certainly put on a pretty darn entertaining concert. Guy on guitar, plus girl on vocals (and occasional guitar), plus drum machine. The spare lineup left them room to cavort across the Double Door stage, working up a good sweat. I will definitely be checking out the Kills’ music after seeing this show. Opening act Scout Niblett was simply tiresome. PHOTOS.

APRIL 3 — Dolorean at Schubas. The club was pretty empty as Dolorean took the stage at 11 p.m. on a Sunday, just 25 to 30 people sitting around to hear Dolorean’s lovely, quiet folk-pop. Bad timing, I suppose. Can’t these Sunday-night shows begin a little earlier? Anyway, Dolorean (which is mostly singer-songwriter Al James) sounded good live, and the lack of fans didn’t detract from my enjoyment. In fact, it made it seem more like James and band were playing a personal gig for the few fans in the place. One of the opening acts, Jeff Hanson, had an amazingly feminine voice, though this guy didn’t look the least bit androgynous. His songs sounded pretty good on first listen, falling somewhere in Jeff Buckley/Nick Drake territory.

APRIL 9  — Magnolia Electric Co. at Schubas. I‘m still not convinced that the 2003 album titled Magnolia Electric Co. was actually by the band called Songs:Ohia. That name doesn’t appear anywhere on my copy of the disc (though I’ve seen copies with a Songs:Ohia sticker). In any case, Jason Molina is now officially calling his band Magnolia Electric Co., and it is a first-rate group. Neil Young and Crazy Horse comparisons are inevitable, but Molina has his own distinctive voice. I like its natural quality. While he doesn’t do a Mark Knopler talk-singing thing, I get the sense that his singing comes straight out of his speaking voice. There’s something very conversational about it. And I love those deep-pitched solos that he plays on the lower strings of his guitar. Three members of Magnolia Electric Co. served as the opening act, playing in the incarnation known as the Coke Dares. Their shtick is playing very short songs in rapid succession, always being sure to say the name of each song. It was quite humorous. I’ll have to hear the songs on CD to say how worthwhile they are, but the Coke Dares seemed to pack a lot into each little burst of music. PHOTOS.

APRIL 15 — Paul Westerberg at the Riveria. He smashed a TV, a telephone and a guitar. He played a lot of his recent solo songs and a few odd covers (“If I Had a Hammer,” “Different Drummer”). He took swigs of whiskey. The concert degenerated into a series of aborted songs: one verse of “Like a Rolling Stone,” half of “Substitute,” a few chords from “Sweet Jane,” the riff from “Cat Scratch Fever.” His band anxiously awaited his next move. Someone got up to leave from a balcony seat and Westerberg said, “Hey, don’t you dare walk away!” Westerberg was falling down on the stage as he played his guitar. Was it all an act? He threw the microphone out into the crowd during “Can’t Hardly Wait,” and then jumped off the stage himself. End of show. Would he bother coming back for an encore? Yes! Glorious versions of “Alex Chilton” and “Left of the Dial” ensued. Was this concert a train wreck? Yes, at times, but it also had moments of triumph.

APRIL 16 — Andrew Bird at Metro. I had the honor of interviewing Mr. Bird recently, and it’s always an honor to see him play live. He’s still doing his amazing one-man band act, using a sampler pedal to loop various string and guitar sounds, building a song from the ground up right in front of the audience. That’s fascinating to see and hear, and it helps that the songs are so good. Kevin O’Donnell was with him on drums tonight, adding jazzy percussion. Bird actually slipped up a couple of times as he tried to juggle all of the musical balls  — but in an odd way, that made his act all the more impressive. It makes you realize how difficult it is to pull off perfection. Near the end of the show, one round of applause swelled beyond the typical cheering, and I sensed a genuine outpouring of affection and appreciation from the crowd. Opening act Archer Prewitt put on a fine set, with his soft, jazzy art-pop songs building into catchy grooves. It was nice seeing Dave Max Crawford, who works as a Metro bartender, on the stage as part of Prewitt’s band, drawing a big hand for a trumpet solo.

APRIL 17 — Damien Jurado at Schubas. Somehow, I’ve missed seeing Jurado in concert until now. I was tempted to see Elvis Costello over at the Auditorium tonight (I’ve somehow missed seeing him in concert, other than one show back in 1989), but I just couldn’t blow off Jurado again. Jurado is one of those singers who doesn’t look the least bit like a rock star, which makes him seem all the more real. He sat down for the whole show, getting up once to go back and play drums for one song. A nice mix of Jurado’s quiet acoustic songs and some rockers, like “Paper Wings.” Responding to an audience request, he played “Ohio” from Rehearsals for Depature, noting that he was heavily medicated (from hospital drugs, not illicit ones) at the time he wrote most of the songs for that album, so he doesn’t really remember the experience. I picked up a copy of that CD on the way out  — I owned it once before, but then it was stolen from my car. I wonder if the thieves ever listened to it? PHOTOS.

APRIL 20 — M. Ward at the Abbey Pub. Another musician I enjoyed interviewing recently. And as I mentioned before, I am waging a campaign for the recognition of M. Ward’s current supremacy in the musical firmament. So of course I enjoyed this show, which featured Ward playing with a full band, his pals in the group Norfolk & Western. The concert had its share of quiet acoustic moments, but it also rocked, especially with songs such as “Big Boat,” “Vincent O’Brien,” “Four Hours in Washington” and “Sad Sad Song.” It’s nice how much Ward varies his live performances. “Fuel For Fire,” which he played on piano at Schubas in February, was back to being an acoustic guitar song this time around, but with a really well-played harmonica solo added to the intro. His Carter Family cover, “Oh Take Me Back,” which is just a short ditty on Transistor Radio, began with an extended bluesy instrumental section. Despite his renown as a guitarist, Ward felt comfortable enough with his role as frontman to take his hands off the guitar and just sing at times. And at other times, it was possible to hear a tiny bit of the surprising influences he mentioned in my interview with him: Sonic Youth and Firehose. None of his music would be confused with those bands, but at a few of the concert’s loudest moments, he did make some dissonant noise with his electric guitar. Norfolk & Western had its own slot as the first opening act, playing melodic folk rock, followed by Devotchka, which played artsy cabaret music — a little like Calexico, with whistling, violin and accordion Interesting, I thought, though obviously not for all tastes. The crowd seemed to dig it. …Speaking of which, the M. Ward crowd was quite young, and I spotted a Bright Eyes T-shirt. Maybe he’s picking up some fans from his tours with Conor Oberst. PHOTOS.

APRIL 21 — Yo La Tengo at the Vic. You might take it as a bad sign that I kept nodding off during this concert, but I’d put the blame more on lack of sleep than lack of interesting music. Yo La Tengo started off the concert with a long instrumental drone, three keyboards going at once, bearing some similarity to Wilco’s much-hated electronic experimentation on “Less Than You Think.” Personally, I like this kind of thing, in small quantities, at least, and I thought this was a daring way for Yo La Tengo to start off its show. (Plus, it gave me time to catch a few winks.) The trio kept things eclectic at this concert, with punky garage rock, super-hushed mellowness and tropicalia. They even did a little dance routine. Somehow, it all sounds distinctly like Yo La Tengo and no one else. Responding to very enthusiastic applause, the band played three encores. A reminder of what a great band this is. NOW why was this concert on the same night as Chris Stamey at the Abbey Pub? I would have liked to have seen both, and given the fact that Yo La Tengo plays on Stamey’s new CD, you wouldn’t think they’d book shows at the same time. Oh, well…