I’m feeling guilty about neglecting the blog, which isâ?¦very me, somehow. Part of it is that things always seem to get so busy this time of year, even nowadays when you can do the bulk of your Christmas/Chanuka shopping just by calling up people’s Amazon wishlists. (I have mixed feelings about that; it makes life easy, for sure, but it also takes away the surprise factor that’s half the fun of giving and receiving gifts. Me, I get around that problem by having such an enormous wishlist that I could never possibly get everything on it, which makes the eventual gifts at least a semi-surprise.
) Part of it is that all I seem to want to do lately when I get home at night is knit; I have four different projects on the needles at the moment, which is a personal record for me to say the least. Part of it is inertia; I wouldn’t say I’m depressed at the moment, but I am feeling a tad unenthused about things, let’s say. Maybe the winter darkness does get to me after all. And part of it is that I haven’t had a lot to blog about lately, I guess.
But I’m still feeling guilty, and as of tomorrow I’ll be in a frantically busy cycle at work again, so before I pick up the knitting needles tonight, I figured I might as well make a second attempt at getting the rest of my Replacements saga finished, finally and finally. I might not get it all into one installment; we’ll have to see how long it takes before my typing fingers start itching to knit instead.
Part of my Replacements thing, as those of you who know me already know, was a girl thing, a little fling with one of the boys. I’m not going to write about it here, because it’s fundamentally kind of irrelevant. I wasn’t exactly the only one; hell, there was practically a network of us. So it’s not all that interesting, really. Ask me by e-mail or something if you really want to hear the girl parts.
Anyway. So our story resumes on October 15, 1985, which was the day that the band’s major label debut, “Tim,” was released.* Back in those pre-Web days, I don’t think I’d ever bothered to make sure I bought a record on the exact day it was releasedâ?¦but I bought that one on release day, boy howdy, at the old Record Exchange on the Drag in Austin. It killed me on first listen; how could it not? It starts out with “Hold My Life,” one of the most devastating songs Paul ever wrote. I’m powerless to resist Paul’s heartbreaker songs, from “Within Your Reach” to “Answering Machine” and even “Go.” And the hook line in “Hold My Life”—”hold my life/because I just might lose it”—was simultaneously like nothing I had ever heard or imagined and immediately right on target, immediately relevant to me and everything I felt. That’s part of what I mean when I talk about sometimes not being completely sure that Paul and I weren’t the same person—and as I’ve said before, I know I’m far from the only person, male or female, who felt that way.
Most days, I’ll tell you that objectively, “Let It Be” is the better record of the two (partly because of the production), and of course it’s particularly important to me because it’s the record that made me a Replacements fanatic. But “Let It Be” grabbed me by surprise; I eagerly anticipated “Tim” (and the tour that I expected would accompany it) for months and months, so in some ways, it’s the Mats album that’s closest to my heart.
And because I’m secure in my fandom
I’ll just go ahead and state something that some fans and many critics (especially those critics who were a little late to the party when it came to the Mats and became excessively adulatory to compensate) often skirt: every Replacements record has a few filler tracks, and some of the filler tracks, well, kinda suck. “Suck” is a relative term, of course; I’d rather listen to “Tommy Gets His Tonsils Out” than plenty of other bands’ “best” songs. But let’s face it, “Tommy Gets His Tonsils Out” is not a classic, and neither is “Lay It Down Clown.” They’re okay as filler, and they’re better than the few songs from later albums that really do suck, like “Asking Me Lies” andâ?¦okay, that’s actually the only example of serious suckage from the later records that I can come up with, but that’s not the point.
Erâ?¦what was the point again? Oh yes. For a long time, I argued that the filler songs on “Tim” were better than the filler songs on “Let It Be,” but I’m not so sure I feel that way anymore. In any case, it’s a rare record that doesn’t have a single weak moment (I can think of some, but not many), and “Tim” is no exception. But oh, the high points of that record. It starts with “Hold My Life” and ends with “Here Comes a Regular,” and really, not very many albums can claim a beginning and ending with that much power and eloquence and heartache. (“Let It Be” can make that claim too, though.) And the one-two punch of “Left of the Dial” and “Little Mascara” is also pretty hard to top. I’d bet big money that I’m not the only sort-of-guitar-playing girl (“Oh, do you pretend to play an instrument?” Paul once asked me in his inimitable, is-he-teasing-me-or-insulting-me style, when we were getting to know each otherâ?¦but I’ll get to that later) who ever half-wished, half-pretended that “Left of the Dial” could be about me, despite the fact that I knew even back then that the song was about Lynne Blakey. And “Swingin’ Party” was another lyric that seemed so completely right that it was hard to believe no one had ever thought of it before. It’s quite a record, that “Tim.” (Too bad about the production. And the artwork.)
Geez, I haven’t gotten very far and I’m already tired of typing this. I’ll try to get the next installment done soonish. But no promisesâ?¦after all, I still need time to obsess over my best-of list.
*I remember the release date exactly because my beloved and constantly mourned cat Tim, who was named after the record—though I used to tell him that the record was really named after him—came into my life as a five-month-old kitten in March 1986. I figured that since that meant he was born in October 1985, he should have the same “birthday” as his namesake album, and though I am not nearly enough of a cat weirdo to actually celebrate cats’ birthdays or give them birthday presents or anything, it did help me remember the release date for the record.
I’ll be emailing you for the girl parts.
I know you’ve heard this before (probably from me)—you should write a book!
I’m sorry I only got to see the Replacements once, on what I guess was their last tour. It was in 1990 at the University of Alabama’s Foster Auditorium ( better known as the location of George Wallace’s schoolhouse door stand, but during the 80s and early 90s the venue for “indie” or “alt” type campus-sponsored concerts). It was a good show, although I’m sure I wouldn’t think so if I’d also seen them earlier on. Also fun was afterwards at the Ivory Tusk (strange combination of frat/alt bar) watching Tommy Stinson—in full makeup—charm all the bow-heads.
What are you knitting? I know you’ve mentioned a couple of things in previous posts, but I can’t recall four. I’ve just taken up knitting. I figured it would be a good skill to cultivate now that I will actually need sweaters. For practice, I’m knitting just about everyone in my family a scarf for Christmas; I’m sure they will all be thrilled. After Christmas, I plan to try a sweater. I’m amazed that I have kept at this long enough to complete a project. Usually I lose interest if I don’t master something immediately (and I don’t master immediately anything requiring manual dexterity). A very bad quality, but I’m trying to overcome it.
Heh, I’m exactly the same way—if something doesn’t come easily to me, I tend to pick up my marbles and go home in a huff. But somehow I’ve managed to stick it out with knitting. For one thing, nearly everyone seems to struggle with it to one extent or another when they start out, and for another, the whole process seems almost miraculous to me, even the simplest knit stitch: you take a couple of sticks and some string, and you make a bunch of loops, and somehow you end up with something beautiful.
Knitting blogs also helped me stick with knitting when I wanted to give up—there are countless ones, and far too many good ones for me to read them all, but there are a handful that I’m devoted to. And if you find yourself getting obsessed, as you very well may—it seems to happen to most knitters—there’s a knitting community on Live Journal (a site I would not otherwise frequent, since it’s mainly directed at teenagers and early-twentysomethings) that is endlessly helpful, informative, and inspiring. I can spend whole evenings reading it.
Oh yeah, you asked a question.
I’m knitting a hood/scarf thingy for myself from a free pattern on the Lion Brand Yarn site, because I like those better than wearing a separate hat and scarf; I’m knitting the first of two blankets for the Siamese Rescue shelter blanket project, using a pattern of my own design (my first!); and then I’m knitting two things that I won’t discuss yet because they are little gifts, including one for a person who has been known to read this blog. After that, I’m going to start the sweater I mentioned a few posts back, and another shelter blanket. I just need to have more hours in the day so that I can knit more…
I’m on the edge of my seat now. (Who is Lynne Blakey???)
(Tommy Gets His Tonsils Out — filler????)
Except for the “girl parts” my discovery of the ‘mats is very similar. Tim was the first album where I anticipated its release, and while I also would generally point to Let It Be as their best Tim accompanied me through more good and bad times. I even snuck in a few tracks from that album at the dance club I DJ’d at (don’t laugh). Who has come up with a better trio than “Left of the Dial”, “Little Mascara”, and “Here Comes a Regular”?
I was driving back from St. Louis today with the iPod on shuffle, and I got a Mats double-play of “Never Mind” followed by “Swingin’ Party.” Excellent driving music, and the latter made me want to hear the rest of “Tim,” so I expect I’ll be putting it in the CD player at home today. I was developing a whole theory as I was driving that “Little Mascara,” because of the melody, the pathos, and the guitar solo, might be the ultimate epitome of the Replacements’ sound, but I’m not sure I can back that up very convincingly.
Philip, Lynn Blakey (I wasn’t sure about the “e” at the end, but I just checked, and there isn’t one) is an Athens, GA-based musician who’s been in various lesser-known bands since forever; at the time that “Tim” came out, I think she was in Let’s Active, but she might have been in Oh OK (with Michael Stipe’s sister Linda; they’re a close-knit bunch down there in Athens, I guess). I’m not sure if her most recent band, Gloryfountain, is still around, but she’s also in Tres Chicas with the lovely Caitlin Cary, as well as Tonya Lamm from Hazeldine. They put out a record last year called “Sweetwater” that’s pretty swell.
And yeah, I think of “Tommy Gets His Tonsils Out” as filler, pretty much. It was funny—and more important, captured some of their goofiness in an entertaining rather than obnoxious way—the first 7500 times I heard it, but over the years, I’ve come to think of it as sort of a novelty song. Maybe “Gary’s Got a Boner” would be a better example, but that one at least sort of rocks…
Hmmm…Thanks. I’d never heard her name before. It’s cool to know that song was “about” a real person.
As for the twin “peaks” of Gary & Tommy…I never thought of either song as filler — they are both too funny, too exuberant. I wouldn’t play either too often on purpose now, probably, but it’s not the songs’ fault that I’m not 22 anymore. Still, even back then, Gary always seemed gut-wrenchingly sad to me, pretty much the same song as Sixteen Blue as seen, er, a little later in the evening. And Tommy (being ostensibly about Tommy) is part of the long line of self-referential/us-against-the-world stuff, which is a big part of their appeal. I don’t think Let It Be has any filler, not one note. (Later songs, like Lay it Down Clown or (ugh!) The Ledge were true filler, false, crafty, charmless.) But you could make the sort-of opposite argument that Tim’s high points were higher than Let It Be’s.
PS: Then where would you rate the really high points from Pleased to Meet Me?
Hm…I’m not sure I can buy the argument about “Gary,” but I’ll mull it over. I’ll grant you “Tommy,” though. I can’t remember now if that one was based on actual events the way “Take Me Down to the Hospital” was, but I seem to recall that it wasn’t.
So you don’t think “Seen Your Video” is filler? Most people seem to, though I’ve always loved that one myself. And “Black Diamond” isn’t exactly filler, but it’s another one where the joke has worn a little thin over the years. I don’t skip it (or any other “Let It Be” track) when I play the record, but I don’t pay much attention to it either.
I don’t think I can make a call on which record has the higher high points. “Let It Be” has the advantage of having “I Will Dare,” which is still and will likely always be my favorite song in the world, and the one song that, in abstract as well as measurable ways, most literally “changed my life.” So I’m totally incapable of objectivity there. I do think there might be more high points on “Tim,” though.
(And FWIW, it’s unusual, or was back then, for Paul to write a song about one specific person; he used to say that most of his songs had bits of several different people in them. He also always insisted that “Within Your Reach” wasn’t about anyone, which I think makes it all the more powerful, in a way; the ability to conjure up that depth of emotion purely from your imagination is pretty impressive.)
“Pleased to Meet Me” has high points?
Erm, for a more serious answer…even though I’m firmly in the “the original version of ‘Can’t Hardly Wait’ was far better than the ‘PTMM’ version,” it’s still an all-time great song, and I’d rank it near but not quite at the level of the highest high points from “Tim” and “Let It Be.” “Alex Chilton” would be maybe a level below that. There are a couple of songs on that record that have strong personal meaning for me, one in a positive way, the other in a negative way. “I.O.U.” is the negative one; it was directed at someone who truly didn’t deserve any of the nastiness in that song, and I never, ever listen to it. The V-Roys covered it and redeemed it for me a little, but I still can’t and won’t listen to the Mats version. “Valentine” is the positive one, but the reason for my attachment to that song is something I won’t go into here. And the rest of the record? Not even close to the highs of previous records, IMO. “Nightclub Jitters” is excellent, “Red Red Wine” is fun, but I could live without hearing most of the rest of that record again. Which is something that I didn’t realize until I looked at the track listing just now, but there it is.
That is harsh! But then, you are much closer to the source than I.
I want to hear EVERYTHING now! You have made me sooo curious!
And of course, I want to know now what you think of the two Singles and 14 Songs…
FWIW, I think the five good songs on PTMM (IOU/Valentine/Alex Chilton/Can’t Hardly Wait/Nevermind (which you didn’t mention, but without which basically there’d be no Nirvana) are as good as any he ever wrote…the pop/rock, sensitive/snotty all perfectly balanced and firing on all pistons.
(Seen Your Video — lyrics kinda dumb-but-heartfelt, but the instrumental music is as beautiful as anything they ever played, no?)
I love the “Singles” songs, but it took me years to feel that way; I loathed them when they first came out. They were the first solo things we heard from Paul, after all—if you don’t count “All Shook Down,” that is, which I sort of do—and they were such a letdown. Jaunty, poppy, and almost deliberately inconsequential. Actually, I guess I didn’t hate “Waiting for Somebody,” just didn’t think much of it. Nowadays, I prefer “Dyslexic Heart” to “Waiting for Somebody,” but I enjoy both. It helps that I love the movie—I liked Cameron Crowe so much better back then, when he made sloppy but big-hearted and well-intentioned movies like “Singles” and, of course, “Say Anything,” and besides, I’m a total sucker for both Campbell Scott and Bridget Fonda.
I haven’t heard “14 Songs” in years, so I can only dredge up memories of initially thinking it should have been called “14 Songs, Including 3 Decent Ones and 11 Crappy Ones,” or something to that effect, but then seeing PW tour that record and learning to love about half the songs on it. Pretty sure I don’t own it, though. It’s my favorite of Westerberg’s solo records by a significant margin, though sadly that isn’t saying much.
(I have to interrupt momentarily to say that Patty Griffin’s “Useless Desires,” which has been an object of my obsession for the last few months, just came up on the iPod, and I just want to say, even if I’ve said it before, that I particularly love the line “Weekend Edition has this town way overrated.”)
I meant to mention “Never Mind,” especially since my iPod has played it twice in the last week (and the iPod almost never plays the Mats…though it also coughed up “I Will Dare” today; obviously it knew I’d been discussing the song). I love that song. To compensate for omitting it, I’ll tell a little story about it, even though it’s not my story to tell: Westerberg was married to his first wife when that record came out; in fact, they hadn’t been married for very long then. Longtime Twin Cities rock crit and all-around great guy Jim Walsh, who’s been friends with PW since high school or maybe before, was talking to him about the song when he first heard it, and told him how, as a recently married guy himself, he totally related to the song and how well it captured the aftermath of a fight with your spouse. I guess Jim went on about this at some length, and finally Paul looked at him a little strangely and told him that the song wasn’t about marriage at all; it was about Bob, and the experience of firing Bob from the band.
(Somewhat typically for Paul, and maybe for most Minnesotan songwriters, the song is a lot more emotional than the actual firing was, at least from what I’ve heard about how that went. But now I’m getting beyond hearsay. The Jim Walsh anecdote is hearsay, but I did hear it directly from him; any tales of Bob’s firing that I’ve heard are second-hand at best and therefore not mine to tell.)