Matt Derda & The High Watts

Revisiting Tim: A Personal Journey Through The Repalcements’ Iconic Album

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As we celebrate the Ed Stasium remix of The Replacements album ‘Tim‘, we thought gathering other music lovers’ thoughts would be a great way to stop and consider the impact of this record. The fourth ‘Revisit’ comes from our friend, musician, and music writer, Matt Derda of Matt Derda & The High Watts! Matt is a Chicago area-based musician who has released some incredible music. Thank you, Matt!

Recently, I saw a video where someone had a Fender Telecaster guitar and the paint started to wear off. Underneath the black layer of paint was an incredible paisley design. The guitar was perfect already and it played great, but with this discovery, it’s now an amazingly beautiful guitar. I think you get the metaphor here.

I was a huge fan of the Dead Man’s Pop reissue and it felt like a totally new Replacements’ record. I really didn’t have that much of an issue with the original Don’t Tell A Soul like everyone else did, but it was a welcome update. But I actually couldn’t fathom how they could make Tim better. Bastards of Young is already in my top 5 best songs of all time. However, Tim (Let It Bleed Edition) should probably become an adjective to describe something that is old, but yet new at the same time. I don’t know that there is a better example to ever exist.

Every single track is familiar, yet slightly different. I think what stands out the most is how much you can hear the clarity of all of the guitar parts. If you already thought Bob Stinson was a genius guitar player before, well now he’s a guitar god. And really the whole band just played incredibly well off each other. I prefer to listen to live recordings, either bootlegs or official releases. The Tim (Let It Bleed Edition) sounds like a live recording. It’s as if you’re sitting in the room with The Mats as they play all of these tracks together. 

And everything seems to have a little extra swing to it. I don’t think I realized how danceable this record was before. Kiss Me On The Bus was already pretty peppy, but something about being able to hear Bob’s guitar and Tommy’s bass a little better makes me want to get up and dance. Dose of Thunder sounds a little less KISS and more like the Dead Boys. Waitress in the Sky could easily be a hit on Outlaw Country on SiriusXM radio. Bastards of the Young doesn’t sound all that much different, but it didn’t need to. It’s perfect.

A proud parenting moment for me was when my six-year-old asked me what song I was listening to one night while doing the dishes. It was the new Ed Stasium mix of Waitress in the Sky. She said, “I like this song.” I’ve never been prouder.

The stand-out song for me though is Swingin Party. I never really cared for this song. Of course, the lyrics are masterful, per all Westerberg tunes, but I just thought the song was kind of boring. Everyone always loves that song so I was kind of embarrassed that I didn’t care for it. However, on this reissue, it seems like a totally different song. It went from one of my least favorites to one of my favorites. I think it is because you can clearly hear Tommy’s bass lines. The song actually swings now.

Finally, I have always been a huge fan of the song Nowhere is My Home. It’s probably one of my top 10 favorite Mats songs, and it was originally cut from the album! This edition gives us two…TWO versions of Nowhere is My Home. 

All in all…10/10. Would recommend.

Matt Derda & The High Watts Unveil Raw Authenticity with “Only Have Lies for You” (Acoustic Version)

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Matt Derda & The High Watts are no strangers to the realm of heartfelt, soul-baring music. With their acoustic rendition of “Only Have Lies for You,” this talented ensemble provides an intimate glimpse into an emotional world that we hide from ourselves. We want to believe we only tell the truth to people we love, but perhaps because the feelings are too much, too close to the surface that in the end, we only have lies to share. The acoustic version of this song stripped down to its bare essence, showcases a vulnerable side of the band that is as profound as it is hauntingly beautiful.

The original version of “Only Have Lies for You” was a passionate and fervent track from the band’s “You Didn’t Know?” record. That first take was replete with emotion for days. The song soared with electric guitars, roaring percussion, and intense vocal delivery. However, this acoustic rendition takes a complete 180-degree turn, exposing the delicate, emotional core of the song. Sometimes stripping away the fast-paced guitar-focused delivery changes a song profoundly.

From the first strum of the guitar strings, the listener is plunged into a musical space where sincerity and raw emotion rule supreme. This space is not an easy place to inhabit. The questions are all too real. They hang heavy with deliberate purpose. The harmonica and banjo add dimension. The acoustic version of “Only Have Lies for You” presents Matt Derda’s voice as the central instrument, and it’s a revelation. His vocals are more compelling than ever, bearing a weighty authenticity that resonates with anyone who has ever loved and lost. He does not force the words, they simply fall and that makes the vocal even more impactful.

The lyrics of “Only Have Lies for You” have always held an enigmatic quality, and in this acoustic rendition, they come to life with a heightened sense of poignancy. The words feel like confessions whispered in the darkest corners of the heart, unraveling a tale of deception, self-discovery, and the pain of a love that couldn’t survive its own secrets. Derda’s evocative storytelling ability is magnificently displayed as he weaves his narrative into a heart-wrenching tapestry. It is heartbreaking and we cannot look away, we cannot stop listening to this revealing, beautiful song.

The additional guitar, banjo, and drum work, courtesy of The High Watts, adds further depth and a sense of melancholy to the song. Each strum and chord progression serves to underline the lyrical themes of regret and longing. The instrumental arrangement is beautifully understated, allowing Derda’s voice to take the spotlight and carry the emotional weight of the song. The acoustic version showcases the band’s ability to adapt and embrace a different musical direction while preserving the essence of the original song.

As the song progresses, the synergy between Derda’s vocal delivery and the acoustic instrumentation becomes more pronounced. The restrained drumming, subtle bass lines, and supportive vocals build a gentle yet powerful foundation for the song, while the harmonies within the band add a layer of richness to the sonic landscape. The chorus backing vocals sound almost choral in texture.

A particularly poignant moment in the song is the bridge, where Derda sings, “But you drove me to this, ‘Cause I made a second guess and your wonder, if I miss… you.” His voice quivers with the weight of remorse, and the listener is left hanging on every word. This is where the power of the acoustic rendition lies; it allows the listener to fully immerse themselves in the raw and unfiltered emotions that “Only Have Lies for You” encapsulates.

The production of this acoustic version is exceptional. The recording captures the subtleties and nuances of the performance, from the slight scrape of fingers on guitar strings to the breathiness in Derda’s vocals. The acoustic version brings out the human element of the song, making it feel like a live performance in an intimate setting.

Matt Derda & The High Watts have managed to successfully reinvent their own song with this acoustic version of “Only Have Lies for You.” The vulnerability and authenticity they bring to the forefront are palpable and stirring, and they’ve managed to expose the song’s emotional core in a way that is sure to leave a lasting impact on their audience. This rendition is a testament to their versatility as musicians and their commitment to crafting meaningful, timeless music.

In a world filled with manufactured pop and superficial love songs, “Only Have Lies for You” (Acoustic Version) stands out as a beacon of unadulterated emotion. It’s a reminder that sometimes the most powerful music is born from pain and honesty. Matt Derda & The High Watts have created a masterpiece of acoustic storytelling, a piece of music that transcends the boundaries of genre and time, reminding us that true artistry always finds a way to reach the heart.

Rocking The Year Away: Simon Powell

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Notes from a small island.

Finally, Autumn’s here (or ‘Fall’ as I believe my colonial chums prefer it!) and we’re back into the proper ‘grown up’ seasons.  No more adverts with teeth-whitened, permatanned ‘eejits’ enquiring whether you’re body’s ‘beach ready’ in the accusative tone that suggests they’re talking about the latest pod of whales that’s lost its way and floundered!  At last, we’re into the introspective comfort zone – the time of chilly dusks, open fires, unfashionable knitwear, and the thought of the rapidly approaching festive season.

Growing up in the UK in the early 90s, that glorious slide into Christmas and the New Year inevitably meant starting to ponder what John Peel would be including in his end-of-year ’Festive 50’ of favorite musical offerings from the preceding 12 months. After what seems to have been a particularly bountiful year so far, I was starting to mull over just that question; “What have been my songs/records of the year so far?”  And, as happenstance would have it, this same quandary was also exercising the inestimable Dr J.

Thus, following a brief bit of Twitter banter, I found myself landed with some homework!  I mean, I know in the ‘social media’ age everything’s more interactive, but I certainly didn’t foresee being set an assignment from my favorite DJ!  So, buckle up, strap in, or just assume the brace position as we careen towards what I’m going to pompously call my ‘Festive Fiasco’!  And if this doesn’t get me Magna Cum Laude in Rock ‘N Roll then harsh words will be had.

Anyway, enough of the waffle and down to business!  Whilst it would be easy to dash off a massive list of all the songs that have really made a mark for me this year, I thought I’d try and just pick the five that have resonated the most.  So, in no particular order, here goes…

1a. – Son Volt – Route (from the ‘Trace’ LP).  Yes, I’m well aware this first surfaced in the mid-90s.  But this is my post, so I make the rules. Capiche?!  Anyway, my justification is that Dr. J played this on Your Tuesday Afternoon Alternative the other week and, frankly, everyone needs a bit of Jay Farrar in their lives.  To my mind, he’s got an uncanny ability to make the listener empathize with the protagonist/antagonist in his songs, which leads us neatly onto…

1b. – Matt Derda & The High Watts – Moonshine.  In a similar vein to Farrar, Matt Derda’s got the enviable ability to summon up characters that inhabit his songs in 3D, with fully rounded lives. None more so than the back woods distiller/bootlegger who’s the subject of ‘Moonshine’, originally featured in his 2022 ‘You Didn’t Know’ release. Whereas the album version can be thought of in terms of a widescreen, technicolor ‘family matinee’, the opening track from the gratefully received ‘The Law Office’ Live EP is the full John Woo ‘X-rated’ ketchup splatterer.  Due in no part to young Derda’s blistering guitar work.  More please!

2. Mike Bankhead – Latent.  Ok, could easily have gone with the beautiful ‘Mont Blanc Massif’ from Mike’s project with Ruth Fawcett (Yeah! Up the Brits!), ‘We Met In Paris’, but just had to go with this barnstormer from the ‘I Am Experienced’ EP.  Casting the mind back, I’ve got a feeling that the first episode of ‘Your Tuesday Afternoon Alternative’ that I caught featured Mike in session and that’s why this one’s probably stuck with me.  Regardless, you just can’t argue with the driving riff and barely contained fury/disdain that Mike brings with the lyrics.  Definitely get the impression that, if it wasn’t in polite company, this song would happily take you outside and give you a proper kicking by the stage door.  Proper punk in my book.  This brings me to my next pick…

3. Elephants & Stars – Bled Out At The Scene. The first salvo from their awe-inspiring ‘Get Your Own Army’ EP, which features more hooks than a pirate convention.  Whilst featuring riffs that’d strip the paint off a battleship at 1,000 yards, there’s a real delicacy in the lyrics, that mourn the seemingly inevitable dissolution of a relationship.  No anger, no accusations, just helplessly observing the inevitable.  Which, inadvertently, segues neatly to my next pick.

4. Will Payne Harrison (feat. Liv.) – Full Moon Fever (from the ‘Tioga Titan’ Deluxe edition LP).  If I was given an award for ‘Single of the Year’, then I think that this would definitely be somewhere in the top one.  Unlike ‘Bled Out At The Scene’, this haunting beauty delicately documents the end of an affair with two parts regret, three-part recrimination, and a good dash of whisky in the face.  Will’s deft lyricism and stripped-back musicianship are heartrendingly brought to life thanks to the vocal contribution of Liv., whose delivery here is nothing less than immaculate.  Whilst the prevailing rule may be that ‘earworm’ tends to refer to more upbeat, ‘poppy’ numbers, this one sticks with you and you can’t help but find yourself humming along to it as you go about your day.  A classic?  Well, you tell me?

5. Van Plating – The Heron.  To be totally transparent, I could quite happily have picked any and all tracks from Van’s new record, ‘Orange Blossom Child’, for my ‘best of the year’ so far.  It really is the ‘Swiss Army Knife’ of records, from sumptuous stompers like the title track (featuring the aforementioned Mr Harrison on Killer Axe), through to the more delicate numbers like ‘Joshua’ that tug the heartstrings as deftly as the most practiced of pickpockets.  However, for me, it’s this debut single that just demands attention. It’s not so much a song as the soundtrack to a songwriter’s life, where you just need to close your eyes and you’re utterly immersed in her environment.  And yet, like all superstars (and I’m absolutely convinced that we’re lucky enough to be witnessing ‘one of our own’ heading ineffably towards the ‘big leagues’), The Heron wisely counsels that whilst we mere mortals can look, we’re not getting to the other side of the velvet rope.  In the third verse, Van sings, “Looking for a hint to come my way.  A billboard I could stand on.”  And there’s a sense of inevitability about it.  Some folks just belong on that billboard, and I’m convinced Van Plating is next in the queue.  And if there’s one thing we Brits know about it’s queuing!

Cheers!!

Video of The Day: Matt Derda & The High Watts

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Matt Derda & The High Watts are making some of the most compelling music in a year full of great music! The video is their official music video for ‘Life You Didn’t Know.’ This is the latest single from the Chicago band’s upcoming EP ‘You Didn’t Know?‘ which came out on 11/12/2022.

‘You Didn’t Know?’ from Matt Derda & The High Watts is a picture postcard from a pure sonic territory that reflects the intersection of indie rock, power pop, and alt-country. The semi-title track ‘Life You Didn’t Know’ feels like a driving Replacements song from ‘Pleased to Meet Me’ written by Uncle Tupelo era Jeff Tweedy. Derda’s lead vocal is always spot-on. This is a mighty trio that tackles the feel of each song as if their lives depended upon it.