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Post by dee on Dec 20, 2018 21:47:50 GMT -5
Maybe PW does everything himself because he enjoys playing and recording everything himself.
I'd like to see PW work with Scott Litt and write songs for an imaginary Cameron Crowe movie.
Also like to hear some horns again.
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Post by dee on Dec 20, 2018 4:42:32 GMT -5
PW is still writing songs that run the gamut of what he's always done.He's still an amazing performer. He still looks good. Weather or not he decides to put together a stellar production of songs that pull out all the stops,he keeps himself ready to do so.
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Post by dee on Dec 18, 2018 5:57:22 GMT -5
Well if you're a guy who doesn't want to tour and you just record in your basement and put out band camp stuff with no publicity,you will get what that market allows.PW obviously doesn't want to put his stuff out there against what is in the mainstream market.Maybe what he puts out reaches some kind of quota that qualifies him to be in a union or something and it has nothing to do with putting stuff out for the diehards.
But why not put something out that could be Grammy worthy? It would be nice to see Westerberg make an album like Time Out Of Mind by Dylan or Nick Of Time by Bonnie Raitt and get recognized.Of course it would mean having the right songs and the right producer and stepping up to the plate and giving a fuck and making it known,or marketing it as a real attempt to achieve industry recognition.Of course this will never happen to the guy in his basement recording stuff for band camp whose music puts most of the Grammy artists to shame.
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Post by dee on Dec 13, 2018 22:26:31 GMT -5
Tommy Stinson
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Post by dee on Dec 11, 2018 2:42:49 GMT -5
It's going on 11 years since PW put out a solo album on a label and did press for it and played some shows. I would love a new PW CD with a cool cover and neat font and some "sellable" music on it.I dig all the basement stuff,but something conventional that blows some dust off the PW "brand" would go a long way to just making it fun to be a Westerberg fan again.
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Post by dee on Nov 27, 2018 1:32:57 GMT -5
It's kind of funny that the longer he's away,in peoples minds,he becomes more fragile and incapable or incompetent,and when he comes back he's always the same talented and funny and irreverent guy he's always been.
I could see Paul doing a 3 night hometown stand again like he's done in the past. Why the hell not?
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Post by dee on Nov 26, 2018 4:34:17 GMT -5
Take #1 It's selfish to expect anything.We project an awful lot onto him when the wheels aren't rolling.By some accounts he's recording all the time and has a sizeable back catalogue that has never been heard.If it's true,that's cool.It's like the song Debris by the faces,at what point do you see your idol as a person and when you do,don't be so quick to judge or pry.
Take #2 He has a fan base. We have expectations. He has made a career out of confounding expectations,the Replacements were built upon that premise.Then came Grandpaboy.This game of cat and mouse is why we still speculate.It's always been what this ride of being a fan of P.W. is all about.It's his game and weather or not he's in,it's always going to be this way as long as the music means something to us.
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Post by dee on Nov 21, 2018 22:58:30 GMT -5
Sounds like the kind of talk going around after Suicaine Gratifaction when PW didn't tour for it and people were pretty divided about that album.
Then came the in stores followed by Mono,Stereo,Come Feel Me Tremble(DVD & album),Dead Man Shake,Folker,Open Season,49:00,PW & the Ghost Gloves Cat Wing Joy Boys,and other self released material. Along with two more tours,many interviews with PW sharing a lot of himself and the tagline of "They can't miss you if you don't go away" in regards to his reputation of retiring to his basement and being called the J.D. Salinger of rock and roll.All of that in seven years.2002-2009.
His narrative is always intact and his albums are all pretty distinct from one to the next.I wouldn't rule out another run.
That said,age is creeping in and the times we live in might seem daunting to a creative spokesman this late in the game.The elder statesman card has been played.He's always seemed to capture the mind state of a continuation of expression against the backdrop of "real life".Is whatever he was an elder statesman of,does it even exist anymore? Well,we're still here.
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Post by dee on Nov 18, 2018 18:49:15 GMT -5
Maybe they can remix the albums so that there are holograms of the band above the turntable while it's playing and then every few years they can remix the holograms.
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Post by dee on Nov 17, 2018 4:54:13 GMT -5
Well music is different than paintings because the work is re-packaged and re-released pretty much every generation.This is done to introduce new generations of fans to the music, and it resets the clock on the music becoming public domain.That's why Bob Dylan does the Bootleg Series.He also sees his songs as living things that grow and change in live settings.
Audiophiles know that almost every pressing of an album varies some from country to country and label to label,so who's to say what the definitive version is?
Paul McCartney re-did Let It Be.Sargent Pepper was just remixed.Exile On Main Street can sound like gut bucket sludge or you can hear perfect separation between all the instruments depending on when & who it was mixed and put out by.
I think fans who buy everything by an artist eventually crave a remix,just to switch up the reissue process,as the repackaging of the artists work gets more bargain-y.It's surprising that the Replacements don't have a 20th Century Masters,Icon,or Essential release.They've basically managed to keep all the repackaging in house and not as part of a series.
In the future fans will probably just get an app and mix albums themselves from the original master tapes.
It would be cool if,instead of Beat Bobby Flay,there was a Beat Bob Ludwig and someone would do a mix against an industry pro.
Only the artist can say what the official definitive version of their song is,and it could be the demo that nobody has ever heard,or the fans won't care what the artist thinks and like a different version of the song.
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Post by dee on Nov 13, 2018 2:50:13 GMT -5
I think Dickinson was saying that Westerberg's voice changed "after" PTMM. Dickinson seemed happy that he got to work with Paul while he(PW)was still at the peak of his powers.
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Post by dee on Nov 10, 2018 20:19:26 GMT -5
I think maybe we're hoping for something that isn't there with Tim,but if it could be made to sound as rocking as Maxwell's of breathed new life into it,that would be cool.I thought most college rock and punk albums from the 80's sounded like that,so I've always been fine with Tim's sound.The fact that it has,arguably,the best batch of songs of Westerberg's career,maybe it would be worth a go at it.With today's technology it could probably be made to sound like anything.Have Iggy Pop remix it,he'll put some hair on it!
I thought more people would want to hear Don't Tell A Soul get remixed and remastered since it has always been seen as a relic of 80's commercial pop production sheen.
I think Jim Dickinson did a great job of crafting some of the performances on PTMM with editing to make it as great as it is.There is a boom-y sound to it,but it doesn't sound sterile to me.Somehow,it captures the plaid phase they were in and it showcases the best singing of Westerberg on a Replacements album!
Let It Be would be interesting to hear remixed,but would maybe be the hardest to improve upon.
Might as well do them all!
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Post by dee on Nov 4, 2018 8:14:17 GMT -5
Last 10 seconds of this clip.
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Post by dee on Oct 29, 2018 6:20:09 GMT -5
Songwriting is cyclical,when you're young you don't realize that and it's like dams bursting.There is also usually a scene or bond that inspires.In the early days you harness the mania,eventually it becomes a craft.Time passes and the scene is no more,you give up the ghost.You are no longer out to prove something to the world,but instead capture something for yourself.
It is surprising though that Paul hasn't put together a band to back him the way Lou Reed did,or Dylan or Stephen Malkmus has.Musicians that understand how he works and can knock out a session or tour and just keep moving forward.By not doing that things will probably remain as they are.
The reunion tour exceeded expectations,I think Paul proved he had more left in the tank than some might have thought.If he chose to put out a set of songs with solid production,being the songwriter and performer he is,I'm sure he could exceed rather than confound expectations.Even working with Scott Litt or Matt Wallace again would be great.
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Post by dee on Oct 24, 2018 0:38:45 GMT -5
Point: Bob had issues bigger than the band.
Counterpoint: Bob was in that band even after he left and he always will be.
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Post by dee on Oct 23, 2018 23:47:27 GMT -5
It wouldda been neat if Talent Show and Portland bookended the album,but Darlin' One was meant to be the big finale,but adding on Portland might have hinted at All Shook Down coming down the pike next.
Westerberg might deconstruct DTAS 49:00 style if he went back to it again. As a bonus disc that'd be interesting.
What exactly is it we want from this album more than all the others? A whole new product made from what is already there? Are we talking sequencing,production,cut & add tracks,every take of every song released?
In the Trouble Boys book they lost a day of recording due to a technical glitch.I don't think we can get that back,might have lost some magic that wasn't captured.
What about those quirky songs from 3oclock creep from that period?Are they on the table as well?
Was DTAS a reaction,production-wise,by the record label to previous Replacements releases on Sire not being full blown enough commercially?
I approve of DTAS as it is,raise a glass to it and everything,but it's fun to dream.
I'm surprised "re-envisioning" albums isn't a thing that all the old bands of the day aren't doing now like part of a series or something.After all product is king and we'll buy,buy,buy. Maybe interactive production,where anyone can remix it the way they want to hear it.
To me Paul's voice peaked on PTMM and lost a little something after that,by the time of ASD it's documented that his voice was pretty shot.Taking that into consideration maybe that's why ASD wasn't a rock album.Not that I don't love the performances to this day.
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Post by dee on Aug 16, 2018 19:57:45 GMT -5
I don't think they played on the same day at Riot Fest.I was there for the Replacements and remember the Pixies and Bob Mould,Suicidal Tendencies,Mission Of Burma,Best Coast. J Mascis was stage side during the Replacements set.You can see him on Youtube videos.
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Post by dee on Aug 16, 2018 18:55:50 GMT -5
Have these bands ever crossed paths? Let It Be and the first self titled Violent Femmes album are pretty classic teen angst/coming of age albums released around the same time,and both bands are from the midwest.
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Post by dee on Aug 4, 2018 20:48:12 GMT -5
Be My Darlin' off 49:00 ain't too shabby.
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Post by dee on Jul 26, 2018 23:43:47 GMT -5
Paul Westerberg = Gentlemen Criminal
Tommy Stinson = Arrogant Desperado
Chris Mars = B-loved Prophet
Bob Stinson = X-pert Conqueror
Slim Dunlap = Amazing Wanderer
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