*~The Replacements~*

From left to right: Paul, Chris, Tommy, & Bob.

 

Long before there was a Nirvana, there was a band that seemed to be the originators of the "alternative" and the "grunge" scene. That band is the Replacements, or 'Mats, as their fans have come to call them.

 

Picture it.

 

1979.

 

Minneapolis, Minnesota.

 

The Stinson family basement.

 

Bob Stinson is teaching his 13-year-old brother, Tommy, how to play bass. Bob and his drummer friend, Chris Mars, appoint Tommy as the bass player of their band, Dogbreath, and the trio begin to jam out tunes in Stinson's mother's basement.

 

When the trio decided that they needed a lead singer, Chris Mars suggested that they should check out a guitarist from a local band. (Note...he had never sang before.)

 

Enter 19 year old, Paul Westerberg.

 

Bob went to check out Paul, and he wasn't too enthralled by him. According to Bob, Westerberg was too mainstream compared to the casual stuff they were doing. However, when he played a Dave Edmunds' song ("Trouble Boys") with Westerberg, he immediately felt something click and invited him to come see his band play.

 

Paul agrees and goes over to his house. He hears this horrid noise coming from the basement. So, he peaks in the window to hear the trio playing a punked out version of Yes' "Roundabout". He joins them, and the four play one of Westerberg's songs, "Lookin' For You" (which later appears on "Hootenanny"). They decided to let Westerberg play with them, calling themselves the Impediments. The band played their first show at an alcoholic halfway house in Minneapolis. They showed up intoxicated, and were told that, more or less, "they would never work in this town again."

 

After touring most of the club scene in the Twin Cities, they were eventually banned from most of them due to their drinking antics. Because of that, the Impediments ended up changing their name to what we now know them as, the Replacements. Westerberg went to a local record store, and gave their demo tape to the owner, Peter Jesperson. Jesperson took them under his care, and signed them to his Indie label, Twin/Tone, which produced their first 5 albums ("Sorry Ma, Forgot To Take Out The Trash", "The Replacements Stink" (a.k.a. "Stink"), "Hootenanny", "Let It Be", and "The Shit Hits The Fans").

 

Under Jesperson's wing, the band began to play gigs around town. Their first gig as the Replacements was on July 2, 1980 at the Longhorn. They became quite known for their unpredictability. Some nights they would rock the house. Other nights they were too plowed to even finish the covers of songs they did. Either way, their shows were always unforgettable.

 

Three weeks after their first gig, they cut their first demos at Blackberry Way Studios. They recorded 15 songs in an amazing amount of time; so, they had the idea of making an album. However, back then, it took a while to actually get the record out. So, the record ("Sorry Ma, Forgot To Take Out The Trash") wasn't released until September of the following year (1981). The first single off that album was "I'm In Trouble/If Only You Were Lonely". And it is said to be one of the rarest Replacements' items out there. (Only half of the 2,000 copies were sold.) The 'Mats finished out their year by being the opening act for a band called Suburbs, in Duluth, Minnesota.

 

Six months later, they released their second album, "Stink" (March, 1982). The album was made in three days. It was recorded on a Saturday, and had the songs mixed on a Sunday and Thursday. Six months after it's date of release, it sold 4,500 copies. "Stink" gave the 'Mats their first significant amount of press thanks to Indie magazines. ("New York Rocker", "Boston Rock", "Trouser Press", etc.) Their second album was different from "Sorry, Ma?". The first album contained acoustic songs, whereas "Stink" was more along the lines of hardcore punk. If you listen to "Kids Don't Follow", you will hear the Minneapolis police saying, "Hello, this is the Minneapolis Police, the party is over", and you will hear screaming in the background. The screamer is none other than Dave Pirner, the front man of Soul Asylum. "Stink" gave the 'Mats their first significant amount of press thanks to Indie magazines. ("New York Rocker", "Boston Rock", "Trouser Press", etc.)

 

In July of 1991, the Replacements released their third album, "Hootenanny". (The artwork for the record was credited to Fake Name Graphics, which was the alter ego of Husker Du's drummer, Grant Hart.) The album was a bit more diverse song-wise. It had a little bit of everything?punk/rock, in-jokes, and ballads. One of the songs, "Color Me Impressed" was used as a catch phrase in the movie, "Heathers". (It turns out that the script writer was a major fan of the 'Mats. And if you notice, the high school where the movie takes place is called "Westerberg High"?after the lead singer from the 'Mats.) If you listen to "Within Your Reach" (which Bob Stinson did not want on the album?because "it didn't represent the band"), you will notice that the music was played on rhythm machine. It was saved from and aborted session, and Westerberg was convinced to finish it on his own. "Hootenanny" ended up selling a total of 38,000 copies.

 

In-between the release of their third and fourth albums, the Replacements issued a 12-inch containing "I Will Dare"/"Hey Good Lookin'/"20th Century Boy" (July 1984). "I Will Dare" gave the Replacements a pop sound, while the b-sides provided them with tributes to T. Rex and Hank Williams. The 12-inch was mastered over a cassette containing "miscellaneous songs" the band would play in its van. Observant listeners can hear the first few cords of the song "Feel", which came of the debut album of Big Stars. (The lead singer, Alex Chilton, was a major influence on Paul.)

 

In October of 1984, the 'Mats released their fourth album, "Let It Be" (their "breakthrough album, so to speak). It was at this time that the band started to receive attention from major record labels. In response to the album, Jesperson said, "Everybody has "Let It Be". It's the college rock album of all time. At the time, we were doing okay, but it was not like they were accepted to anywhere near the degree they are now. Those records became famous long after they were done."

 

"Let It Be" ended up selling a total of 12,000 copies.

 

At this time, the Replacements made a video for the song "Bastards Of Young". Their camera shy attitude came across in it. The video consists of speaker thumping away to the song. The only time you see a person in the video is when you see "someone" smoking a cigarette on a couch, and then getting up to kick the speaker when it starts to make the record skip. Westerberg had said, "It (the contract) doesn't say we actually have to be in our videos."

 

The "LiB" album had some noteworthy songs on it. "16 Blue" premiered at a Boston soundcheck, and was written about Tommy Stinson. "Androgynous" was played on a $14,000 grand piano for company. "Unsatisfied" is played on acoustic guitars, and its lyrics ("Look me in the eye and tell me I'm satisfied") seem to contradict its bitter emotion. And "Answering Machine" drove home a powerful point of loneliness and frustration with its lyric of "How do you say 'I miss you' to an answering machine?".

 

The album also had a "tribute" to KISS with the 'Mats cover of their song "Black Diamond". It is rumored that Gene Simmons did not seem to find their "tribute" a good thing when he heard them play it at a show in New York. Upon hearing them play his song, he immediately left the show.

 

In December of 1984, the Replacements signed with Warner Brother Records and began to work with one of Westerberg's idols, Alex Chilton. The 'Mats played their "circus-act" set after Chilton played his at the Irving Plaza in New York City. They were known for lumbering through classic rock covers while drunk. The head man at Sire Records, Seymour Stein (who signed The Ramones, The Talking Heads, The Pretenders, and Madonna), saw this, and had made a list of songs he thought it would be amusing to see the Replacements butcher. Before he and his "list" left New York, the 'Mats had a new record contract to consider.

 

In January of 1985, the band and Alex Chilton began to work on the 'Mats fifth album entitled "Tim". The early "Tim" sessions gave way to a drowsy song called "Nowhere Is My Home", which was put on the U.K.-only released album, "Boink". The early sessions also gave the abandoned acoustic and electric takes of the song "Can't Hardly Wait". Jesperson thought the "Tim" versions of "Can't Hardly Wait" (the acoustic one was literally cut in a ventilation shaft at Nicollet Studios, and the other was an "electric version of the song) were, "infinitely superior to the one they ended up doing on 'Pleased To Meet Me'."

 

To say goodbye to Twin/Tone, the 'Mats release their cassette only album "The Shit Hits The Fans". It was limited to only 10,000 copies, and features some cover art that drummer, Chris Mars, did of Bob Stinson as a demonic barber holding a beer in one hand, clippers in the other; next to him a sign reads: "Asylum Cut $20... or lines." The album came about when an enthusiastic fan secretly recorded a gig they did in an Oklahoma City converted church (the Bowery). Apparently, the fan left the recorder unattended in a balcony, and a soundman (Bill Mack) found it. After the show, Mack popped the tape in, and the 'Mats realized that it was a copy of the show they just did. Westerberg was noted as saying, "Let's put this fucker out!" And the rest is history for that album.

 

At the end of June/beginning of July 1985, the Replacements began the studio recording of their fifth album "Tim". (Note that they started once before in January with Alex Chilton. Chilton did not end up producing "Tim". Instead, Tommy Erdelyi (Tommy Ramone) did due to his "name" in the industry.) This is the album in which the 'Mats started to sound less like themselves, and a bit more like what the industry wanted. When preparing to record "Dose Of Thunder", Paul wanted the band to put tacks on their shoes and to stomp onto concrete; to simulate the sound of a marching band. Tommy Erderlyi pushed the idea down, and wouldn't allow it. Also, during this time, things between Bob and Paul were going askew. They weren't getting along like they once used to. Paul wanted to do things one way, and Bob just wasn't having it.

 

When it came to recording the song "Here Comes A Regular", Paul would not record it unless nobody in the studio could see him playing it. ("There's grown men in the control booth with lumps in their throats the size of bowling balls, afraid he's gonna finish the take and see everybody in tears," said Jesperson.) With his acoustic guitar in hand, Westerberg let his defenses down, and sang the lyrics, "When a drinking buddy that's bound to another town/And once the police made you go away/And even if you're in the arms of someone's baby now/I'll take a great big whiskey to you anyway." To most, the climax is unforgettable: "And everybody wants to be someone here/Someone's gonna show up, never fear/Here comes a regular/Call out your name/Here comes a regular/Am I the only one/who feels ashamed?"

 

On February 1, 1986, "Tim" debuted at #192 on Billboard's Top 200, and peaked at #183 two weeks later for a seven-week run.

 

Rumors started to run rampant about Bob Stinson's inability to perform adequately and Peter Jesperson's abilities as a manager. In mid-1986, just before the 'Mats were getting ready for their first European tour, the band was getting ready to go through a major set of changes. Warner Brothers felt that the band needed proper "New York management", so they fired Jesperson. Jesperson later said, "It just got to the point where Paul said to me, 'I'm really unhappy with a lot of things, and I'm to the point when I get mad, I want to start swingin', and I don't want you in the way, catching any punches."

 

After playing a 2-day show at the Ritz (May 20-21, 1986), the 'Mats were faced with the problem of having to fire Bob Stinson. The "official" story dictates that Stinson was let go due to his alcohol problems that were ruining his playing. It is also said that he didn't like the way that the next album was going to go.

 

In response to Stinson leaving the band, Westerberg told Musician magazine (in the June 1987 issue), "It got to the point where I couldn't grow and write the kind of songs I wanted to with basically a punk/metal guitar player wailing his ass off on every song. I always like writing songs I thought the band could get off on; that they could shine on. I ran out of ideas that Bob could shine on."

 

According to Bob, he was never fired from the band. He recalls getting a phone call from Paul, and Paul telling him, "I don't want to work with you anymore." Stinson agreed, and hung out. Stinson always preferred to do things on his own, and liked to get into trouble the same way?on his own. Whereas Tommy and Paul preferred to hang out, and do things together. The personal conflicts between them all led to the inevitable?Bob leaving the band.

 

Work on "Pleased To Meet Me" had already begun when Stinson left. Tapes exist of him and the band playing material they had originally decided to put on the album. (Rare bootlegs from the August 1986 "tapes" include: early versions of "Valentine" and "Red Red Wine" (which did end up on "PTMM"), and unreleased gems: "Bundle Up" (a mislabeled "Bongo Rock"), "Empty Is Your Heart" (also known as "Put An Add In The Paper"), and "Time Is Killing Us".) Stinson always thought of those songs as the possible "second wind", a "what might have been" for the group. We, the fans, will never know.

 

Drummer, Chris Mars, said that he could always feel an emptiness once Bob left the band. He felt that the emptiness could be easily detected on the last two records they did, "Don't Tell A Soul" and "All Shook Down".

 

"Pleased To Meet Me" started out being recorded as a trio, with Westerberg playing the lead guitar parts and some of the keyboards. The trio didn't stay a trio for long. They sought after a new guitarist to help them out on the recordings. Bob "Slim" Dunlap is said guitarist. (Dunlap adopted the nickname "Slim" so the fans wouldn't confuse him with the man before him, Bob Stinson.) Dunlap didn't want to fill the vacancy that Stinson left behind, but ended up signing on after a jam session he had with the 'Mats. By the time that Dunlap was officially a member of the band, most of the recording for "PTMM" was done. There wasn't much he had to do. However, he did end up persuading Paul to leave "Valentine" on the record (as it was already recorded, with Stinson). Dunlap later said, "Sometimes, when you hear something, and it's done, a lot of musicians put something on their anyway, so they can be on it (a track), and sometimes, it's unnecessary. That little thing you add might fuckin' wreck it."

 

The Replacements didn't really worry about what praises or criticisms they would get for their albums. They preferred having no real directions, and felt that their fans would appreciate that. The 'Mats response to the media/fans wondering if they would have a hit on the "PTMM" album was the song, "I.O.U." (lyrics: "Want it in writing?/IOU nothing"). "Pleased To Meet Me" also included the "new" version of "Can't Hardly Wait" (complete with extra keyboards, horns, and a choir of strings), and "Alex Chilton" (Paul's tribute to the artist.) As stated earlier, Westerberg's tender "Valentine" was put onto the album ("Tonight makes love to all your kind/Tomorrow's thinking/Valentines").

 

The band also touched on the sensitive subject of suicide with "The Ledge". The lyrics look through the mind of a would-be suicide ("I'm the boy they can't ignore/For the first time in my life, I'm sure"), and leave no doubt or hope ("Policeman reaches from the sill/Watch him try and do his best/There'll be no medal pinned to his chest").

 

The video for "The Ledge" was banned from MTV, even though the video only contained the band standing in a room. This led Warner Brothers to make a series of commercials defending the song. Westerberg said "The Ledge" was his way of saying "I know what it's like to feel that way."

 

"PTMM" was released on May 30, 1897, and stayed on Billboard's Top 200 for a total of 19 weeks.

 

For their next album, Warner Brothers wanted them to be a Top 40 commodity. However, this was not what the 'Mats wanted. When the recording for their ninth album came about, Warner Brothers stressed that they wanted a hit single (if not many). The Replacements had a 2-year layoff in which many new songs were created. WB still wanted a hit, and in essence, told the 'Mats, "have a hit, or walk." It got so bad that Warner Brothers sent Westerberg during a "Don't Tell A Soul" session so he could come up with a couple more singles. Of course, their plan backfired when Paul came up with so many songs, it was hard to decide which ones would be hits, and which ones were duds.

 

In response to the album, Westerberg told Musician magazine (cover story, February 1989), "This time more than any, the songs aren't about the Replacements. There are other things to write about. It's been hard for me to do, but I've come to grips with the fact that I'm an artist. For years I pretended I wasn't." In response as to whether or not having a hit record mattered, Paul said, "It's almost embarrassing not to have had one by now. It' like you start out and you want as big a hit record as the Beatles. And then you realize that ain't cool, you don't want to have hits. Well, now I do. We should have a hit."

 

"Don't Tell A Soul" debuted at #150 on February 18, 1989's Billboards Top 200 chart. It rose to it's peak of #57 within a month, and stayed on the charts for 19 weeks. (Same amount of time that "PTMM" was on the charts for, and triple the amount that "Tim" was.)

 

The 'Mats released the single "I'll Be You"/"Date To Church", and it scored a #1 position on Billboard's Album Rock singles chart (March 25,1989). Warner Brothers also released 2 12-inch records of "I'll Be You" and "Achin' To Be", and a CD-only one for "Back to Back". Also put out was a CD-only radio sampler. (It was recorded in Madison, WI, and features: "Here Comes A Regular", "Talent Show", "Answering Machine", and the Only Ones' "Another Girl, Another Planet".)

 

During this time, Tom Petty And The Heartbreakers asked for the services of the Replacements as their opening act for their tour, which would take place from June to August of that summer (1989). The band was expected to play through their entire "history" in a 45 minute set. For the most part, the crowds never really seemed to know who the 'Mats were. So, it always led to an interesting show. Petty wasn't really pleased with the bands attitude. As Dunlap recalls, "He (Petty) tried desperately to get us all in line, and he just was not the person capable of doing that, so we got kind of angry. There was a little damage that occurred, perfectly innocent rock ?n roll type damage. Tom Petty just treated it like it was a big, terrible room in his career!"

 

The "problems" that happened while on tour only helped aide in the rifts the band had. Chris Mars started to work on four-track recordings while Tommy quietly continued to master the guitar?while the song writing was pretty much left to Paul.

 

The Replacements began to work on "All Shook Down" in 1990. Instead of working together (like they had done on previous albums), the 'Mats began to work with "sessioneers" (Charlie Drayton and Tom Petty keyboardist, Benmont Tench). The Replacements ended up working together on only one song, "Attitude"?which was pretty much their last studio endeavor Originally, "All Shock Down" started out as a solo debut by Paul. Warner Brothers wanted something different and insisted that the other 3 members of the 'Mats be included in the project. Even though the others contributed to the album (in their own ways), it was still pretty much a Westerberg album. This album is where Paul was really able to be himself, and less compromised. It was sort of dark and closed in. Some of the songs touched on someone's insecurities and lack of trust for those around them. ("All Shook Down", "Nobody", "Torture", and "When It Began") The closing song on the album is "The Last"?a song about sobriety and sort of asks a question, "Are you too proud to ask?/Is it such a big task?/Remember, last one was your last".

 

The sales for "ASD" went quite well. It debuted at #109 on Billboards' Top 200 on October 23, 1990, and rose to #69 the following week. All in all, it was on the charts for 14 weeks. (Not too bad for being their last album.)

 

One final promo item was released entitled "Don't Buy Or Sell It's Crap EP". It contained Tommy Stinson's "Satellite" and "Kissin' In Action", "Ought To Get Love", and "Like A Rolling Pin" (a parody of Bob Dylan's "Like A Rolling Stone").

 

Chris Mars acknowledged that he knew that Paul had been struggling with depression brought on by the stress of having to struggle to keep the band's youthful punk rock image. If you listen to "When It Began", you will see that it is sort of like a comparison to how band once was, "It's nothing like/When it began". And "The Last" kind of ends the album on a sobering note (kind of how the band ended as well).

 

Shorty after it's release, Mars quit the band, and was replaced by Steve Foley. The 'Mats went back out on tour. To most fans, it was like nothing had ever happened. But inside the band, it was a different story. Paul described the tour as "a traveling wake for 90 people". He wasn't too pleased with it. Dunlap, on the other hand, enjoyed it a bit more because it was the Replacements last outings?no pressure. Tommy saw the end of the 'Mats coming. He knew they were bored as a band and need to be challenged and grow as individual artists.

 

Later on Paul told Musician magazine (June 1993), "We weren't clicking as a group. The only time we did things together were destructive things from the early days. It was 'All for one and all for all, let's break this table.' We ran out of things that we do well together."

 

The last performance by the Replacements took place on July 4, 1991 in Chicago's Lincoln Park. Several bootlegs from the show exist and are floating around on the internet. (Definitely worth the download for the real 'Mats fans out there.)

 

There was no major blowout, or anything like that. Tommy was working on a solo project. Paul was getting ready to do the same. And "Slim" was writing songs for his first solo album. They just decided to stop the Replacements.

 

The end.

 

 

 

Other bits and pieces.

 

1. The founding members of the Replacements were:

 

Paul Westerberg (12/31/59), lead singer/guitar

Bob Stinson (12/17/59-2/18/95), lead guitar

Chris Mars (4/26/61), drums

Tommy Stinson (10/6/66), bass

 

In 1986, Bob was replaced by Slim Dunlap. (8/14/51).

In 1990, Chris Mars was replaced with Steve Foley for the ?All Shook Down? tour.

 

2. The Replacements got the nickname "the 'Mats" from their fans when the press would refer to the band as "the Placemats". The fans shortened it to "'Mats".

 

3. Bob Stinson died on February 18, 1995 after a long battle with drugs and alcohol. His body became so worn out from years of abuse that it finally gave out on him.

 

 

Personal Sites:

Paul Westerberg

Chris Mars

 

 

Other Sites:

For lyrics, visit the Skyway.

Take a look at the ?Mats page on Twin/Tone.

A complete listing of Set Lists

The Replacements Virtual Tour.

Click here to see how ?Lovelines? got its lyrics.

Collection of early ?Mats pictures can be found here.

Discography:

 

"Sorry Ma, Forgot To Take Out The Trash" (August 25,1981)

(Twin/Tone Records)

 

1. "Taking A Ride"

2. "Careless"

3. "Customer"

4. "Hangin' Downtown"

5. "Kick Your Door Down"

6. "Otto"

7. "I Bought A Headache"

8. "Rattlesnake"

9. "I Hate Music"

10. "Johnny's Gonna Die"

11. "Shiftless When Idle"

12. "More Cigarettes"

13. "Don't Ask Why"

14. "Somethin' To Du"

15. "I'm In Trouble"

16. "Love You Till Friday"

17. "Shutup"

18. "Raised In The City"

 

"Stink" (June 24, 1982)

(Twin/Tone Records)

 

1. "Kids Don't Follow"

2. "Fuck School"

3. "Stuck In The Middle"

4. "God Damn Job"

5. "White and Lazy"

6. "Dope Smokin' Moron"

7. "Go"

8. "Gimme Noise"

 

"Hootenanny" (April 29, 1983)

(Twin/Tone Records)

 

1. "Hootenanny"

2. "Run It"

3. "Color Me Impressed"

4. "Willpower"

5. "Take Me Down To The Hospital"

6. "Mr. Whirly"

7. "Within Your Reach"

8. "Buck Hill"

9. "Lovelines"

10. "You Lose"

11. "Hayday"

12. "Treatment Bound"

 

"Let It Be" (October 2, 1984)

(Twin/Tone Records)

 

1. "I Will Dare"

2. "Favorite Thing

3. "We're Comin' Out"

4. "Tommy Gets His Tonsils Out"

5. "Androgynous"

6. "Black Diamond"

7. "Unsatisfied"

8. "Seen Your Video"

9. "Gary's Got A Boner"

10. "Sixteen Blue"

11. "Answering Machine"

 

"The Shit Hits The Fans" (January 22, 1985)

(Twin/Tone Records)

Recorded live at The Bowery, Oklahoma City 11/11/84.

 

1. "Lawdy Miss Clawdy"

2. "Sleeping Nights Of Jesus"

3. "Lovelines"

4. "I'll Be There"

5. "Sixteen Blue"

6. "Can't Hardly Wait"

7. "I Will Dare"

8. "Hear You Been To College"

9. "Saturday Night Special"

10. "Misty Mountain Hop"

11. "Can't Get Enough Of Your Love"

12. "Jailbreak "

13. "Breakdown"

14. "No More The Moon Shines On Loreena"

15. "Mirror Go Round"

16. "Left Here In The Dark"

17. "Takin' Care Of Business"

18. "I Will Follow"

19. "Jumpin' Jack Flask"

20. "Radio Free Europe"

21. "More Fun In The New World"

22. "Let It Be"

 

 

...to be continued...

...continued...

 

"Tim" (1985)

(Sire Records)

 

1. "Hold My Life"

2. "I'll Buy"

3. "Kiss Me On The Bus"

4. "Dose Of Thunder"

5. "Waitress In The Sky"

6. "Swinging Party"

7. "Bastards Of Young"

8. "Lay It Down Clown"

9. "Left Of The Dial"

10. "Little Mascara"

11. "Here Comes A Regular"

 

"Boink" (1985)

(Glass Records)

U.K. Import.

 

1. "Color Me Impressed"

2. "White And Lazy"

3. "Within Your Reach"

4. "If Only You Were Lonely"

5. "Kids Don't Follow"

6. "Nowhere Is My Home"

7. "Take Me Down To The Hospital"

8. "Go"

 

"Pleased To Meet Me" (May 30, 1987)

(Sire Records)

 

1. "I.O.U."

2. "Alex Chilton"

3. "I Don't Know"

4. "Nightclub Jitters"

5. "The Ledge"

6. "Never Mind"

7. "Valentine"

8. "Shooting Dirty Pool"

9. "Red, Red Wine"

10. "Skyway"

11. "Can't Hardly Wait"

 

"Don't Tell A Soul" (February 1, 1989)

(Sire/Reprise Records)

 

1. "Talent Show"

2. "Back To Back"

3. "We'll Inherit The Earth"

4. "Achin' To Be"

5. "They're Blind"

6. "Anywhere's Better Than Here"

7. "Asking Me Lies"

8. "I'll Be You"

9. "I Won't"

10. "Rock & Roll Ghost"

11. "Darlin' One"

 

"All Shook Down" (September 25, 1990)

(Sire/Reprise Records)

 

1. "Merry-Go-Round"

2. "One Wink At A Time"

3. "Nobody"

4. "Bent Out Of Shape"

5. "Sadly Beautiful"

6. "Someone Take The Wheel"

7. "When It Began"

8. "All Shook Down"

9. "Attitude"

10. "Happy Town"

11. "Torture"

12. "My Little Problem"

13. "The Last"

 

"All For Nothing, Nothing For All" (October 28, 1997)

(Reprise Records)

4 video enhanced 2 disc CD set. ("Achin' To Be", "Merry Go Round", "The Ledge", & "Bastards of Young")

 

Disc: 1

1. "Left Of The Dial"

2. "Kiss Me On The Bus"

3. "Bastards Of Young"

4. "Here Comes A Regular"

5. "Skyway"

6. "Alex Chilton"

7. "The Ledge"

8. "Can't Hardly Wait"

9. "I'll Be You"

10. "Achin' To Be"

11. "Talent Show"

12. "Anywhere's Better Than Here"

13. "Merry Go Round"

14. "Sadly Beautiful"

15. "Nobody"

16. "Someone Take The Wheel"

 

Disc: 2

1. "Can't Hardly Wait" (The Tim Version)

2. "Birthday Gal"

3. "Beer For Breakfast"

4. "Till We're Nude"

5. "Election Day"

6. "Jungle Rock"

7. "All He Wants To Do Is Fish"

8. "Date To Church"

9. "Cruella DeVille"

10. "We Know The Night"

11. "Portland"

12. "Wake Up"

13. "Satellite"

14. "Like A Rolling Pin"

15. "Another Girl, Another Planet"

16. "Who Knows"

17. "All Shook Down"

 

 

 

Solo Projects:

 

Paul Westerberg Solo Releases:

 

"14 Songs" (June 15, 1993)

(Sire/Reprise Records)

 

"Eventually" (April 30, 1996)

(Reprise Records)

 

"Grandpaboy" (September 9, 1997)

(Monolyth Records)

Done under his pseudonym of Grandpaboy.

 

"Suicaine Gratifaction" (February 23, 1999)

(Capitol Records)

 

"Mono" (February 26, 2002)

(Vagrant Records)

Done under his pseudonym of Grandpaboy.

 

"Stereo / Mono (Grandpaboy)" (April 23, 2002)

(Vagrant Records)

2 disc CD set.

 

 

Tommy Stinson Solo Releases:

 

"Bash n' Pop: Friday Night is Killing Me" (1993)

(Sire Records)

 

"Perfect: When Squirrels Play Chicken EP" (1996)

(Sire Records)

 

 

Chris Mars Solo Releases:

 

"Horseshoes & Hand Grenades" (1992)

(Smash Records)

 

"75% Less Fat" (1993)

(Smash Records)

 

"Tenterhooks" (1995)

(Smash Records)

 

"Anonymous Botch" (September 26, 1996)

(Bar None Records)

 

 

Bob "Slim" Dunlap Solo Releases:

 

"The Old New Me (1993)

(Medium Cool Records)

 

"Times Like This" (1996)

(Medium Cool Records)