Podcasts of Two Weeks Ending September 12


AirSpace :: Me and the Sky

The story behind the musical Come Far Away which draws upon the life of one of the first women to become a commercial airline pilot, Beverly Bass, and the grounding of 38 passenger planes in the small town of Gander, Newfoundland on September 11, 2001 (a story also covered in the book The Day the World Came To Town).

The Moth :: All Together Now​: ​Fridays with The Moth​ – Caroline Hunter & Anne Moraa

I’m sharing this particularly for Caroline Hunter’s story of working at Polaroid in Cambridge, MA and discovering that her supposedly progressive company was aiding the Apartheid regime in South Africa, and how she lead the fight to stop it.

99% Invisible :: Podcast Episode

This podcast traces the rise and fall of generic supermarket products in the 1970s & 1980s through the story of the Canadian chain Loblaws.

:: Where Do We Go From Here?

The controversies over transgender people using public restrooms is only the latest issue related to toilet facilities that has split the American people.  Designers in this episode note that public restrooms are actually poorly designed for most people and introduce a new design that would address the problems faced by transgender people, disabled people, and many others.

Planet Money :: The Old Rules Were Dumb Anyway

The COVID-19 is changing many of the rules from medical practices to restaurants. This podcast episode argues that the rules should not revert to normal when the pandemic ends.

Radiolab :: Translation

Several stories that address the idea of translation and attempting to find truth and meaning.

Sound Opinions :: The Replacements & Mission of Burma

Two of my favorite bands in one podcast.  The Replacements get the biographical treatment, with the help of the author of Trouble Boys Bob Mehr, and then we hear an in-studio performance by Mission of Burma.


RUNNING TALLY OF PODCAST OF THE WEEK APPEARANCES

Book Review: Trouble Boys by Bob Mehr


Author: Bob Mehr
TitleTrouble Boys: The True Story of the Replacements
Publication Info: Boston, MA : Da Capo Press, a member of the Perseus Books Group, [2016]
Summary/Review:

The Replacements are a band that have left a legacy of great music, yet always seemed to have the potential to do much more.  After reading this book though, it seems amazing that they even accomplished what they did.  Beyond their music, The Replacements are known for their heavy alcohol and substance abuse and their disastrous antics on-stage.  Turns out that they actually played better when drunk, and their worst performances were a rebellion against perceived hostility in the crowd or plain old self-sabotage. From the beginning, the band is riven by conflicts among its members and with their managers, producers, and record labels.

Mehr’s book traces the band back to their childhoods which were troubled indeed, especially for the Stinson brothers who suffered from abuse and neglect.  Each member of the band is well-developed within the narrative of the band’s rise and fall:

Bob Stinson – The founder of the band who always resented Paul Westerberg essentially taking over, and disliked the move to more melodic pop songs.  Stinson’s substance abuse problems were the most serious of all The Replacements, and he was forced out of the band in 1986.

Tommy Stinson – Bob had his little brother take up bass, and Tommy ended up developing into the most talented instrumentalist in the band.  Tommy’s life is remarkable as he drops out of school and he essentially spends his teenage years playing and touring with The Replacements.  Eventually he grows close to Westerberg and allies with him against his own brother.

Paul Westerberg – In the story related in the book, Westerberg hears the Stinsons’ band rehearsing in their basement and pretty takes over and makes them his band.  Westerberg comes across as arrogant and dismissive, and I really felt like punching him in the face by the end of this book.  And yet, Westerberg also grows to become a talented songwriter creating introspective songs that speak for the disaffected youth of the 1980s.

Chris Mars – Every band has a “quiet one” and The Replacements’ drummer is not just a musician but an artist who finds fulfillment outside of the band.  Still the way Paul & Tommy basically ditch him in the later years is just wrong.

Slim Dunlap – A journeyman/session guitarist who takes over after Bob Stinson’s ousting, he’s older than the rest of the band and settled in his married life, creating quite a contrast.  And yet he becomes something of an enforcer for the band against outsiders.

All in all, this is a well-written book that gives the reasons that for all their flaws, we still kind of find ourselves rooting for The Replacements to succeed.
Favorite Passages:

Though the band’s drinking would come to define and even consume them in later years, in the beginning it was a perfect lubricant for the long hours of practice and their burgeoning friendship. “That was the glue that held us—ol’ Jack Daniels,” said Mars. Westerberg noted: “They weren’t heavy fall-down drunks when I met them. None of us were. We learned to be that together.”

Where other groups evinced a certain artfulness or tried to present an idealized vision of themselves, the Replacements were all rough edges and struggle. That was part of the attraction: watching them, you couldn’t help but root for the band.

When Hoeger asked about their career aspirations, Westerberg articulated a prescient vision of the Replacements’ future: “We’d like to become famous without being professional,” he said. “Maybe like a giant cult.”

“To me, the soul of rock-and-roll is mistakes. Mistakes and making them work for you,” Westerberg would note. “In general, music that’s flawless is usually uninspired.”

Over the course of their career onstage, the Replacements would happily play the role of jesters and buffoons, but their concerts were also a high-wire act as well as a geek show. On one level, it was theater, pure performance—but it was real too. The band was constitutionally unable to put on a conventional act. If they were bored, they sounded bored; if they were drunk, the sets careened; if they were angry, their playing seethed; if they felt ornery, the show might devolve into one long piss-take, a joke on the crowd. That kind of calculated authenticity—in all its paradoxical glory—would be the Replacements’ methodology moving forward.

True Replacements fans—not the ones coming to live vicariously through them or to find sanction for their own behavior—were a different breed. “When we started, we were mixed-up kids, and we wrote about it,” said Westerberg. “It’s funny that the people who related to it the most weren’t fucked-up kids, though. Our fans have always been, dare I say, a little more intelligent than the band was labeled as. I always thought that ironic.” Replacements partisans were, on the whole, literate, dark-humored, and a bit confused about their place in the world. They weren’t the go-getters or yuppie types, but they weren’t hopeless wastrels either. They were, Tommy Stinson would note, “more like us than they fuckin’ knew. They didn’t really fit anywhere. They probably didn’t aspire to a whole lot, but also didn’t aspire to doing nothing either. That’s the kind of fan we probably appealed to most: the people that were in that gray area.

Prince was rumored to have lurked in the shadows at some of the Replacements’ shows at First Avenue, but it was in the bathroom of a club in St. Paul where Westerberg finally ran into him. “Oh, hey,” said Westerberg, seeing the dolled-up singer standing next to him at the urinal. “What’s up, man?” Prince turned and responded in cryptic fashion: “Life.”

Dubbing the Replacements “America’s inebriate counterpart to the Smiths,” Reynolds was one of the few European journalists to grasp the peculiar alchemy that fueled the ’Mats: “At the heart of the Replacements lies fatigue, insecurity, a sense of wasted or denied possibilities, but this is a pain that comes out bursting and exuberant, a world weariness that’s positively, paradoxically boisterous.”

Recommended books: Unfaithful Music & Disappearing Ink by Elvis Costello
Rating: ***1/2

Music Discoveries: The Replacements


The Replacements are a band I started listening to in high school in the 1980s (highly apropos) coming off a time when I’d spent a couple of years listening almost exclusively to Classic Rock. The Replacements were a special band for me because not only was I listening to something current but the cool alternative kids weren’t listening to The Replacements either. Until I got to college where everyone knew The Replacements. And then the band broke up.

Anyhow, I’ve been reading the biography of the band, Trouble Boys by Bob Mehr (review forthcoming), and while I had four of the band’s last five albums, I wasn’t familiar with their early stuff.  I figured this was a good opportunity to do a Music Discovery.  So crack open a beer, crank up my best of The Replacements playlist on Tidal, and read on.
Album: Sorry Ma, Forgot to Take Out the Trash
Release Date: 25 August 1981
Favorite Tracks: “Careless,” “I Bought a Headache,” “Don’t Ask Why,” and “I’m in Trouble”
Thoughts: This raw debut captures the energy of early 80s punk rock, with The Replacements already showing some of their pop sensibility.  18 songs seems like overkill for a band just starting out, but really there are no stinkers here.
Rating: ****


Album: Stink
Release Date: 24 June 1982
Favorite Tracks: “Kids Don’t Follow” and “Stuck in the Middle”
Thoughts: This EP or mini-LP (or really “Kids Don’t Follow” with 7 B-sides) is straight-up hardcore punk.  With tracks named “Fuck School,”  “White and Lazy,”  “Dope Smokin’ Moron,” and “God Damn Job,” it seems that The Replacements are a stereotype of white teen boys rebelling against suburban, middle class values.  But The Replacements are in on the joke, so that makes it work.  And songs like “Go” presage the musical and lyrical complexity of future works.
Rating: **1/2


Album: Hootenanny
Release Date: 29  April 1983
Favorite Tracks: “Color Me Impressed” and “Within Your Reach”
Thoughts: I want to say that this is the album where The Replacements found there sound as they moved away from hard punk to something that sounded more like a clearly identifiable Replacements sound, particularly on “Color Me Impressed.”  But then again, this album has a little bit of everything – rockabilly, blues rock, and folk particularly – while the drum loop on “Within Your Reach” gives it a contemporary New Wave sound and “Mr. Whirly” is a Beatles’ parody.  For an album with a throw-it-at-the-wall-and-see-what-sticks approach, it is surprisingly cohesive.
Rating: ***1/2


Album: Let It Be
Release Date: 2 October 1984
Favorite Tracks: “I Will Dare,” “Favorite Thing,” “Androgynous,” “Unsatisfied,” “Gary’s Got a Boner,” and “Answering Machine”
Thoughts: Finally up to an album I remember from my youth rather than hearing for the first time.  And is this not the perfect encapsulation of disaffected youth in the 1980s, from the pain and angst to the puerile humor?  It’s hard to come at an album that’s received such accolades from a fresh perspective, other than to say it deserves all of them.
Rating: *****


Album: Tim
Release Date: October 1985
Favorite Tracks: “Kiss Me on the Bus,” “Bastards of Young,” and “Here Comes  a Regular”
Thoughts: This is another album I didn’t have when younger, although several of the tracks were familiar.  There’s definitely a shift in tone on this album as Westerberg’s singer/songwriter talents and pop sensibilities continue to develop, leading to more down-tempo songs and a mix of rockabilly and folk rock instead of the harder punk of previous albums.  It’s a good album but it’s still a big step down from Let It Be. This is also the last album for founding member and guitarist Bob Stinson who either had artistic differences with Westerberg, want to stick to only playing rockers, or was fired by the rest of the band because his substance abuse made him too unreliable for even The Replacements (probably aspects of both are true).
Rating: ***


Album: Pleased to Meet Me
Release Date: 1985 June 17
Favorite Tracks: “Alex Chilton,” “I Don’t Know,” and “Can’t Hardly Wait”
Thoughts: The band’s only album as a trio is also their major label debut and continues to show Westerberg’s skill as a crafter of pop/rock tunes, in some case even bringing in horn and string arrangements.  Despite the departure of Bob Stinson, this album seems to have a harder edge than Tim.  This album could’ve been an indication of how The Replacements could’ve matched their earlier punk ethic with a more accessible sound, but with the power of hindsight, we know it’s The Replacements’ last great album.
Rating: ***1/2


Album: Don’t Tell a Soul
Release Date: 7 February 1989
Favorite Tracks: “I’ll Be You”
Thoughts: This was the first Replacements’ album I ever listened to, so it breaks my heart to admit that it doesn’t hold up as well as the rest of their work.  The production values are very high, but the band’s anarchic brilliance is lost in the process.  It’s clear that they were trying to distill The Replacements through the prism of the recent indie rock success of REM’s Document (which is probably why I liked it at the time) but erased The Replacements in the process.  “I’ll Be You” is still a brilliant song though.
Rating: **


Album: All Shook Down
Release Date: 25 September 1990
Favorite Tracks: “Sadly Beautiful” and “When It Began”
Thoughts: This album started as a Westerberg solo project and even though the record label insisted it be a Replacements’ recording, the rest of the band merely appears among many session musicians and guest artists.  Despite that, it is a brighter and more listenable album than it’s predecessor.  It’s a long way in less than a decade from Sorry Ma, Forgot to Take Out the Trash to be at a point where the majority of this album is acoustic, singer/songwriter pieces and the highlight is a track with a cello solo (“Sadly Beautiful”)
Rating: **1/2

While working on this post I found this interesting article by Laura Jane Grace of Against Me! listing her favorite songs by the Replacements.