Faves of 2023: The Replacements – Tim Let It Bleed

December 20, 2023 your tuesday afternoon alternative 2023 Faves 2023, album-review, Best Of, Best of 2023, Ed Stasium, Ed Stasium Remix, Faves, Faves of 2023, Faves of Lists, music, Review, reviews, The Replacements, Tim Let It Bleed

Since the release of the Ed Stasium mix of Tim, we have been celebrating that record. We have been showcasing several thoughts about this mix.

For us, it is one of the best remixes of a record we have had the pleasure to hear. It demonstrates what an incredible band The Replacements were and the talents and unique contributions of each member in that band. Hearing the Stasium mix is like hearing these songs for the first time. And instead of revealing flaws and limitations, the remix does just the opposite. More than mere flashes of brilliance, the amazing sound is revealed — a band at the height of its ability. Hearing these songs it is like brushing debris and dirt off of stone and finding something even more beautiful than you were expecting. To be entirely forthcoming, this record has long been a favorite. But the muddiness of the original version always left something to be desired. This mix fixes that problem. And for that reason and many more, it is a favorite of 2023.

The brilliance of Ed Stasium’s mix on The Replacements’ “Tim: Let it Bleed Edition” lies in an ability to capture the raw energy and emotional depth of the band while enhancing the overall sonic experience. Stasium, a seasoned producer and engineer with an impressive track record, brought his expertise to the table, elevating the album to new heights.

One of the key elements of Stasium’s brilliance is his understanding of the band’s dynamic and the essence of their sound. The Replacements were known for their unpolished, punk-influenced aesthetic, and Stasium managed to preserve that authenticity while adding a layer of clarity to the mix. He struck a delicate balance between maintaining the band’s signature rough edges and ensuring that every instrument and vocal had its own space in the songs.

The album’s opener, “Hold My Life,” perfectly exemplifies Stasium’s prowess. The guitars roar with a gritty intensity, complemented by Paul Westerberg’s impassioned vocals. Stasium’s mix allows each instrument to shine individually, yet they come together seamlessly to create a powerful and cohesive sonic picture. The punchy drumming of Chris Mars cuts through with precision, anchoring the track’s driving rhythm.

Stasium’s attention to detail is evident throughout the album, especially on tracks like “Bastards of Young” and “Left of the Dial.” The former showcases Stasium’s ability to capture the nuances of Bob Stinson’s guitar work, from the jangly chords to the blistering solos. Meanwhile, “Left of the Dial” benefits from a mix that highlights the emotional resonance of Westerberg’s lyrics, making it a standout moment on the record.

Beyond the individual performances, Stasium also mastered the art of creating a three-dimensional sonic space, something that the previous version of the record significantly lacked. The Replacements’ music thrives on its live and unfiltered feel, and Stasium’s mix amplifies this by immersing the listener in a rich auditory experience. The layers of sound on tracks like “Swingin Party” or “Here Comes a Regular” create a sense of depth, inviting the audience to fully immerse themselves in the music.

In essence, Ed Stasium’s mix on “Tim: Let it Bleed Edition” showcases brilliance in understanding and enhancing the unique qualities of The Replacements. He managed to capture the essence of the band’s raw energy, preserving their authenticity while elevating the overall sonic quality of the album. Stasium’s contribution to this edition of “Tim” solidifies a reputation as a masterful engineer and producer, leaving an indelible mark on one of The Replacements’ most iconic albums by simply allowing the band to be itself.

Favorites of 2023: Just the List

December 19, 2023December 19, 2023 your tuesday afternoon alternative 2023 Faves, Radio Show Achilles Tenderloin, Best of 2023, Beth Bombara, Black Belt Eagle Scout, Blondshell, Bottlecap Mountain, Elephants and Stars, Faves of 2023, Favorite Music, Hello June, Jason Isbell, Jason Isbell and the 400 unit, Kim Ware, Lydia Loveless, Making a Best of List, Mike Bankhead, New Music, Nicholas Johnson, Palm Ghosts, Smug Brothers, Tamar Berk, The 1984 Draft, The Connells, The Nautical Theme, The Pretty Flowers, The Replacements, Van Plating, Year End List, Your Tuesday Afternoon Alternative, YTAA

This time of the year every music writer’s fancy turns to the ubiquitous quest for the best of/favorites of the year. We start with a list of albums and singles we played on YTAA at least three or four times. Then we consider what songs and records slipped into our consciousness and we spent more time simply thinking about that song, that album — those words. If there is a pattern to what we loved in 2023, it is a bit hard to pin down. If we take a wild stab at an answer, 2023 was a year of amazing music from powerful, strong, thoughtful women musicians. From the incredible voice of Sarah Rudy in Hello June to the authenticity of Kim Ware and Van Plating across to the irresistible guitar tones and perfect singing of Tamar Berk, Blondshell, Beth Bombara, and Lydia Loveless, so many outstanding records were made outside of the men’s club this past year — and that is a welcome change.

Every writer, just like every music fan, has styles and sounds that they are irresistibly pulled towards. Clearly, Dr. J loves guitar. For some writers the list is likely to be diverse, reflecting a fusion of genres and innovative production techniques. And that is fine. With the continued influence of technology, some writers are drawn to artists who experimented with new sounds and collaborate across musical boundaries, creating a sonic outcome that resonates. For other writers, the search for a pure direct authenticity of instruments lead them to the streets where the music is painted without electronics. Acoustic and stripped down arrangements played on traditional equipment bring gratitude to the heavens for that music from some writers.

When crafting a list of favorites from the year, some writers will consider representation. Genres such as indie pop, electronic, and hip-hop may continue to dominate, with emerging artists bringing fresh perspectives and pushing creative boundaries. Collaborations between mainstream and indie artists could lead to unexpected yet captivating musical experiences. Shoegaze, for example, has made many returns after some commentators spilled tremendous amounts of ink over the idea that shoegaze had come and gone. Music in the year 2023 saw several bands who represented that style.

Lyrically, many of the themes explored in 2023 revolve around social issues, personal growth, feeling whatever the artist needs or desires to feel, perhaps some of the “Best” representations for the year are the songs that grab and do not let go of the human experience. Artists may use their platforms to address pressing matters, providing listeners with thought-provoking content that goes beyond mere entertainment and that might be the magic that some writers are drawn to when considering all the records and songs that came out during one trip around the sun.

There are some ‘off limits,’ ‘don’t walk on the grass’ ideas for us here at Your Tuesday Afternoon Alternative. Sure, the rise of virtual and augmented reality experiences may revolutionize the way music is consumed, offering immersive and interactive performances that redefine the traditional concert experience. But for us, human beings need to be part of the creation and experience of music. Streaming platforms might incorporate cutting-edge technologies to enhance the listener’s engagement with the music and while we can and should debate the lack of compensation, which is only going to get more challenging in 2024, AI generated melodies, tones, and arrangements of notes are not considered for inclusion on our favorites of the past year.

The best albums of 2023 could be those that not only showcase exceptional musical talent but also tell compelling stories or provide a unique perspective on the world. Artists who successfully blend innovation with authenticity may find themselves at the forefront of critical acclaim and commercial success and, to be entirely transparent, will immediate draw our attention for a favorites of the year.

Ultimately, the best music of 2023 will likely be a subjective experience, as individual tastes vary widely. However, it is important to consider this a reflective exercise. Every year is poised to be an exciting time for music enthusiasts, with a plethora of sounds and styles to explore, pushing the boundaries of what we thought possible in the world of music. Every year is full of promise. No annual march of the calendar is without merit and new experiences. So, to create a list of the music that moved you in 2023, is not to close the door to new auditory love but to remember we break our hearts so we can fall in love again with songs and albums we have not even heard yet.

The list below is our start on our favorites from this past year. A longer set of articles will come out exploring what it was that caught our attention in these albums and songs.

Favorite record for us in 2023:

Hello June – Artifacts

You can read our review of this fantastic record!

This music transcends time and place, resonating with listeners in their quest for meaning and understanding. The lyrics serve as a mirror, reflecting the innermost thoughts and emotions that often remain unspoken. Hello June’s “Artifacts” is a sonic masterpiece — and we are prepared to die on that hill to defend that assertion — that deserves a place in the hearts of all music fans. It is a timeless record that captures the essence of the human experience, a treasure chest of emotions waiting to be discovered with each listen.

In no particular order of importance but records that we believe were mightily impressive:

The 1984 Draft – Best Friends Forever

The Replacements – Tim Let It Bleed Edition (Ed Stasium Mix)

Tamar Berk – Tiny Injuries

Smug Brothers – In The Book of Bad Ideas

Elephants and Stars – Get Your Own Army

The Nautical Theme – Get Somewhere

Palm Ghosts – I Love You, Burn in Hell

Van Plating – Orange Blossom Child

Lydia Loveless – Nothing is Gonna Stand In My Way Again

Kim Ware – Homely

Bottlecap Mountain – O Fantastik Melancholy

Beth Bombara – It All Goes Up

Nicholas Johnson – Shady Pines Vol. 2

The Pretty Flowers – A Company Sleeve

The Connells – Ring (Deluxe Edition)

Black Belt Eagle Scout – The Land, The Water, The Sky

Blondshell – Blondshell

Achilles Tenderloin – Tincture for Trouble

Mike Bankhead – I Am Experienced

Jason Isbell and the 400 Unit – Weathervanes

Some of our Favorites of 2023:

Arthur Alexander – …Steppin’ Out!

Mommy – Be Your Own Pet

Frankie Rose – Love as Projection

Cold Expectations – Static Reactions

Connections – Cool Change

The Connells – Set The Stage

Dolph Chaney – Mug

En Attendant Anna – Principia

Graham Parker & The Golden Tops – Last Chance to Learn the Twist

Guided By Voices – Nowhere to Go But Up/Welshpool Frillies

H.C. McEntire – Every Acre

Jess Williamson – Time Ain’t Accidental

John P. Strohm – Ready for Nothing

Jphono1 – Invisible Futures and Make Believe Pasts

Louise Post – Sleepwalker

Love Rat – Howl at the Moon

Matt Moran – Heartache Kid (Acoustic)

The Radio Field – Don’ts and Do’s

Shannon Clark & The Sugar – This Old World

Special Friend – Selkie

Tino and DJ Marrrtin – La Pie Bavarde

Trapper Schoepp – Siren Songs

Singles

No One Sphere – Fingerz to Lips

Elephants and Stars – Bled Out At The Scene

David Payne – Best Intentions

We Met In Paris – Mont Blanc Massif

The National – Eucalyptus

sparkle_jets uk – He’s Coming Out

The Well Wishers – So Important

Tod Weidner – Raising Pain

Mike Bankhead – Latent

Given Names – Makin’ Eyes

Cowboys in The Campfire – Here We Go Again

Teenage Fanclub – Foreign Land

Hannah Jadagu – Lose

High on Stress – Over-Thru

Jeremy Porter and the Tucos – Five-Foot-Three and Tiger Eyes

Tyler Childers – Rustin’ in the Rain

Kurt Lee Wheeler – We Will Travel

Honorable Mentions

Yo La Tengo – This Stupid World

Amber Hargett – Coal Mine Canary

Brainiac – The Predator Nominate EP

Quiet Signals – Quiet Signals

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

October 19, 2023 your tuesday afternoon alternative The Replacements Dead Man's Pop, Dose of Thunder, Kiss Me On The Bus, Matt Derda, Matt Derda & The High Watts, Nowhere is my Home, Swingin Party, The Replacements, Tim Let It Bleed, Waitress in the Sky

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.

Video of the Day: Behind the Sound: Replacements’ ‘Tim’ gets remastered

October 12, 2023 your tuesday afternoon alternative Video Ed Stasium, Ed Stasium Remix, Remix, The Replacements, Tim Let It Bleed

When a classic album from the annals of rock history gets the remix treatment, fans often approach it with a mixture of excitement and trepidation. In the case of The Replacements’ seminal record ‘Tim,’ which recently received a remix that was discussed in a video ‘Behind the Sound: Replacements’ ‘Tim’ gets remastered,’ this cautious optimism was well-founded. The result is a meticulous and loving restoration of an album that not only preserves its raw emotional power but also enhances its sonic experience for a new generation.

Originally released in 1985, ‘Tim’ was an album that catapulted The Replacements into the alternative rock pantheon. Known for their punk-influenced sound, the band’s music always possessed a gritty, midwestern unpolished charm, and ‘Tim’ was no exception. But with this remixed edition, listeners are treated to an experience that remains faithful to the band’s raw essence while elevating it to new heights.

One of the most remarkable aspects of ‘Tim’ has always been its emotional depth. It’s an album that’s often regarded as a cornerstone of American alternative rock, thanks to its introspective and sometimes turbulent lyrics. With the remix, this emotional core is brought into sharper focus. The subtle nuances in Paul Westerberg’s raspy vocals and the poignant lyrical themes are now more pronounced, allowing listeners to delve deeper into the album’s soul.

The instrumental components of ‘Tim’ have been given a thorough makeover as well. The album’s instrumental arrangements, once somewhat obscured by the lo-fi production values of the 1980s, now shine through with greater clarity. Chris Mars’ drumming, Tommy Stinson’s basslines, and Bob Stinson’s searing guitar work are all more defined. Each instrument is allowed to breathe, and their combined efforts are all the more powerful for it.

The soundstage of this remix deserves special praise. The separation of instruments, the placement of Westerberg’s vocals, and the overall balance of the mix are executed with remarkable finesse. In songs like ‘Bastards of Young’ and ‘Swingin Party,’ the emotional punch is delivered with newfound precision. The album’s quieter moments, such as ‘Here Comes a Regular,’ showcase a depth and subtlety that were somewhat muted in the original release.

The remix process, handled by Ed Stasium who clearly understands the album’s significance, respects the integrity of ‘Tim.’ It doesn’t attempt to transform the music into something it’s not. Instead, it removes the layers of sonic muddiness and distortion that had accumulated over the years, allowing the album’s authenticity to shine through. The result is an album that feels fresh and relevant, even decades after its initial release.

Despite the overall sonic improvements, there’s a warmth to the remixed ‘Tim’ that retains the album’s original character. The imperfections and rough edges that make The Replacements so beloved remain intact, a reminder of the band’s DIY ethos and punk roots.

For fans of The Replacements who have cherished ‘Tim’ for years, the Tim: Let It Bleed edition is a gift that allows them to experience the album in a new light. For those who are new to the band, it’s a fantastic entry point that showcases the band’s musical brilliance.

In conclusion, ‘Behind the Sound: Replacements’ ‘Tim’ gets remastered’ is an exceptional example of how a remaster can enhance a classic album without sacrificing its essence. The emotional depth of ‘Tim’ remains untouched, while the sonic quality is remarkably improved. This remix not only does justice to an important album in alternative rock history but also demonstrates the enduring power of The Replacements’ music. Whether you’re a long-time fan or just discovering the band, this remastered ‘Tim’ is a must-listen that captures the essence of an era while sounding fresh and captivating in the present.

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

October 3, 2023 your tuesday afternoon alternative The Replacements Kevin Alexander, On Repeat Substack, Revisiting Tim, The Replacements, Tim Let It Bleed

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 second ‘Revisit’ comes from our friend and music writer, Kevin Alexander. Make sure you subscribe to his Substack!

There used to be a wall in downtown Portland Oregon, where someone had painted “Paul Westerberg is God.” Anytime my friends and I were down there, we’d see it, laugh, and make the sort of inside jokes funny only to us.

It would be ~25 years between seeing that sign and finally seeing the Replacements. My wife & I drove 75 miles to hear 26 songs, and it was worth every last minute. My ears bled like I thought they might. It was everything we expected. And more.

It would take 38 years for The Replacements’ Tim album to get the remix it deserves. The result is far more than merely “punching up the drums” or tweaking a note here or there. Ed Stasium has overhauled the record, resulting in a much more dynamic, heavier sound.

The original was produced by Tommy Erdelyi (better known as Tommy Ramone) and sounds tinny, nasally even. Despite being packed with songs we hold so close, there is a distance to it. It’s flat, but to my ear, that’s how most ‘Mats records before Don’t Tell A Soul sounded.

It was all part of the bargain and matched their (then) chaotic style, which never much lent itself to fidelity. The record production on Tim left a lot on the table, but The Replacements was always a band that rolled their eyes at terms like “potential,” so maybe that was part of the bargain too.

Tim represents an inflection point for the band where Westerberg’s lyrics start pivoting toward a more poignant place. Think less “Gary’s Got A Boner” and more “Little Mascara.“

With Stasium’s help, the sound is finally leveled up to match the words.

The usual box set ingredients (B-sides, live tracks, etc.) are here, but the original album tracks themselves are the real treasure. Listening to a fresh take on something so familiar can be fraught, but Stasium has gone to great lengths to amplify & enhance only the best parts and finally bring the music closer.

To my ear, the biggest changes are to the rhythm section. Tommy Stinson’s bass had always been relegated to the back, almost an afterthought as Westerberg and Bob Stinson battled it out on guitar. Here, his playing is much closer to the front, and the lines are much cleaner and clearer.

Chris Mars also benefits from revisiting the record. With Stasium’s touch, the drumming is revealed as much more intricate. Even listening with less-than-stellar headphones, you hear new fills here or a cymbal crash there. A record like Tim is one you grow to love by heart, down to every last note. Hearing a series of new parts in the equation is unexpected but in the best way.

Bob Stinson sees some posthumous redemption here, too. At this point in the original recording, he was already headed toward drug-fueled oblivion and had a much-reduced role on the record- almost as a vestigial nod to their louder, more raucous days than anything else. Part of that is down to his wrestling with his demons, but part of that might’ve been down to being on the outside looking in.

With Westerberg taking an increasing turn toward being a singer-songwriter, where’d he fit in?

Indeed, one of the two “Bob” tracks is “Dose Of Thunder,” a lovely homage to scoring speed. I used to regard it and “Lay It Down Clown” as two of the weaker tracks on the record. Neither will make any “favorite ‘Mats song of mine” lists, but both are improved significantly here, sounding more electrifying. More importantly, both highlight Stinson’s guitar work as someone who, despite going completely off the rails, could still nail it when the mood struck.

No track perhaps encapsulates all of this better than the “new” version of “Little Mascara.” Westerberg has a knack for squeezing an entire story into one verse; this is no exception. The original is good, but this is sublime. Parts have been moved around and overhauled. The intro is now the chorus, each verse a step up to the next, and the whole track is now somehow even more anthemic–and that’s before we get to the outro, which is much longer and features a ripping solo by Stinson.

It just might be my new favorite.

If you dig far enough on YouTube, there is cellphone footage from the show my wife and I were at. Like the early ‘Mats records, it’s raw and shaky. It’s short on production but long on enthusiasm.

As Westerberg tears into the opening riff of “Bastards of Young,” someone just out of frame says, “f**k yeah!” it’s more rapturous than anything– as if the person has been waiting their whole life to hear those chords in person. It’s a dream fulfilled.

In a lot of ways, the newly mixed “Tim” is the same way.

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

September 25, 2023September 25, 2023 your tuesday afternoon alternative Radio Show Albums, DJ Calc, Influence of Records, Records, Sharing Music, The Replacements, Tim Let It Bleed

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. Our first ‘Revisit’ comes from our friend, Jim Doherty known as DJ Calc on WRKC Radio Kings College in Wilkes-Barre, Pennsylvania.

One of the joys of parenting my children as they move through their teen years has been re-engaging with music I have loved and falling in love with records all over again. This has happened a number of times when I manage to convert my kids into being fans of music that matters to me. Sometimes, however, falling in love all over again does not involve my kids. Sometimes it is just me and an album I thought I knew.

One band that I have not converted my kids, or my wife, to is The Replacements. In some ways, I see this as a failure of parenting. In some ways, though, this means that I get to lose myself in Paul Westerberg’s world without sharing that with anyone else in my house. Twice now in the past three years, I have fallen head over heels in love with a Replacements album that has already been part of my life for decades. A couple of years ago it was the Matt Wallace remix of Don’t Tell a Soul. This week, it is the Ed Stasium remix of Tim.

I started working at a record store in my college town in 1984 and one of the slew of miraculous albums that came out then was Let it Be. That album began a lifelong love affair with The Replacements. When Tim, their major label debut, came out in 1985 I was predisposed to love it and love it I have for decades now. But that love was always tempered a bit by the sort of soggy sound of the record. Tommy Stinson and Chris Mars, a dynamite rhythm section that roared on the earlier records by the band seemed neutered on this album. The guitars did not ring with the same power I was used to from the ‘Mats. It was easy to blame this on the record being their major label debut and the finger generally got pointed at the corporate label that wanted to tame the band. As with most stories, this was way too simple a reading of the situation.

Listening to this new remix almost feels like I am listening to some lost chapter of the band. The rhythm section kicks, and there is space for the guitars to ring, especially Bob Stinson who is still somewhat of a ghost on this album. The outro to ‘Little Mascara’ is a revelation. Westerberg’s voice – especially on ‘Little Mascara’ and ‘Here Comes a Regular’ – is just heartbreaking in its emotional depth. For a person whose public character was that of a person who could not be bothered to care (a favorite lyric of his is “One foot in the door, the other foot in the gutter. The sweet smell that you adore, yeah I think I’d rather smother”) it is sure clear in his singing here that he is deeply invested in these songs and in the characters being portrayed.

You can hear Jim’s radio programs on Mixcloud

Joe Anderl’s ‘Short Takes’

June 11, 2020June 11, 2020 your tuesday afternoon alternative Radio Show, Short Takes 97X, Dyslexic Heart, Inside of Love, Joe Anderl, Makes Good Choices, MidPoint Music Festival, music, Music commentary, Music Video, Nada Surf, Paul Westerberg, Popular, Slackjawed, The 1984 Draft, The Connells, The Replacements, Waiting for Somebody

Let us take a moment and introduce our latest feature, Short Takes. We are asking musicians, artists, DJs, writers, spoken word performers and others involved in music and creative expression to write some short comments about what they are listening to right now. There are no rules regarding genre, style or year of release. What are people listening to now? What does it mean for them in a brief few sentences — hence the idea of a ‘short take.’

20992760_10159165029090537_2527313783301675441_n Our first ‘Short Takes‘ comes courtesy of Joe Anderl of The 1984 Draft. Joe is a kind, warm and thoughtful person who not only loves music, he feels it. His passion for music is inescapable in his current project The 1984 Draft. The ‘Draft are a phenomenal live band who capture the spirit of punk and post-punk melded with the introspection of the best music of the ’90s and beyond.

The Draft’s last record ‘Makes Good Choices‘ was one of our favorite records of 2018!

As quarantine and social distancing continue, as the world burns around us, and as I find myself filled with more and more rage over the ignorance and injustice in our county, I have found myself searching deeper in my music catalog for little nuggets of joy. Songs that remind of the past. Songs from simpler times. The thing is, there were never simpler times. Just different times. That being said, there can often be comfort in nostalgia, joy in discovering something new, and a new wave of emotions caused by a song listened to in a different phase of life.

These songs are the little nuggets of joy I have had in my life for the last couple weeks.

First, ‘Slackjawed’ by The Connells – I found myself watching a video on YouTube with the Best of 1993 from 120 Minutes. I particularly wanted to watch it as it included videos of the Afghan Whigs, Paul Westerberg, and Buffalo Tom.

As I watched all the videos and reminisced about wrapping tin foil around my boom box antenna to pick up 97X [modern rock radio station from 1983-2004], a song came on that I had remembered loving hearing every time it came on. That song was ‘Slackjawed’ by The Connells. I wondered to myself why I had never tried to purchase an album by them and why this song never found its way into my collection. That will change very soon as I have probably listened to it 30 times in the last week.

Next, ‘Inside of Love‘ by Nada Surf. I was a late adopter on Nada Surf. I heard ‘Popular‘ in high school and kind of wrote the band off as a one hit wonder. That changed some 20 something years later watching them headline at Midpoint Music Fest [Dr. J was there too! The band gave a great live performance and won over many music fans that day!] There is an absolute softness in the voice of Mathew Caws. His choice of words can often be so simple and telling in same moment.

When I listened to this song a couple weeks ago, I found myself so grateful that I live in a loving marriage, that I am on the inside of love. So much so I just keep listening to this song every time I need to remind myself how lucky I truly am.

Last but not least, ‘Dyslexic Heart’ by Paul Westerberg – What GenXer did not relate to singles in some way?

After spending the last few years of my life completely ravaging my Replacements catalog, I decided I needed to dive further into my Westerberg records. I started with something comfortable and easy. This song and ‘Waiting for Somebody‘ [also from the Singles soundtrack] have been every other day listen for me lately just to try and feel a little normal.

Thank you for a terrific ‘Short Takes’ Joe!

Tomorrow’s Show

September 12, 2017October 28, 2017 your tuesday afternoon alternative Radio Show Alvvays, Cricketbows, Dan Auerbach, Iron and Wine, Mack McKenzie, Shrug, Sick of Sarah, Ted Leo and the Pharmacists, The Afghan Whigs, The Replacements, The Typical Johnsons, The Undertones, The War on Drugs, U2

On the show tomorrow – new music from U2, Alvvays Cricketbows, Iron & Wine, Ted Leo and the Pharmacists, Mack McKenzie, The Typical Johnsons, The Afghan Whigs, The War On Drugs, Dan Auerbach and Sick of Sarah! Some classics from The Undertones, The Replacements, and Shrug.

We will play a live track from Counting Crows and one of Dr. J’s favorite Billy Bragg songs! Join us from 3-6pm tomorrow on WUDR.

Thirty Years Ago Today

June 17, 2017June 17, 2017 your tuesday afternoon alternative Radio Show 30th Anniversary, Perfect Record, Pleased to Meet Me, Sire Records, The 'Mats, The Replacements, Thirty Years Ago

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Standing in line in the Minnesota heat having arranged to get to a decent record store which was a major Herculean task in of itself for a kid in college where the big records of hair metal and top 40 dominated the sparse “selection” of the college record store and, for that matter, most record stores. But how many universities have a real record store. The so-called record stores I had access to only sold a handful of records in a space that was more about hanging out between classes or just hanging out rather than having a wide selection of music available. Which is fine, but to buy a record… to purchase an album required a far more sacred space than was available at the university I attended. So I drove a few hours to get to a real record store.

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So after some time driving, there I was in line with a bunch of people just like me. We were connected. When I say that, we did not look like one another. There was no badges or uniforms… well, other than the patches on jackets. I remember seeing one guy with a Husker Du sticker on the back of his jacket and I immediately had great respect for him even while I debated in my mind if he preferred “the Huskers” to the ‘Mats. For me, it did not matter – both bands were incredible and they both came from our home town. Yeah, I know now that Bob Mould was not from Minnesota but went there for school, but that did not matter to those of us who loved that sound. These bands made music in the ceremonial home town of all wayward Minnesotan kids, Minneapolis-St. Paul or the Twin Cities or for us ‘the cities.’

We were waiting for the record store to open so we all could purchase the first Replacements record without Bob Stinson. I did not know then, what I know today. Bob had been thrown out of the band in the worst possible way. But it did not matter, just as Ralphie had his mania for a Red Ryder, we had ours for the latest ‘Mats record. It was not a bridge too far, it was real and authentic and it was obtainable.

All many people in the line knew was the buzz. The ‘Mats were on a major label. This was a record that we all knew was titled with an odd turn of phrase, ‘Please to Meet Me.’ “What does that even mean?” I thought at the time. It did not matter. This was the band that created unbelievable records such as ‘Tim’, ‘Let It Be,’ ‘Kids Don’t Follow’ and ‘Stink.’ I loved this band. Hearing songs like ’16 Blue’ spoke to me on a level I could not fully understand, let alone explain to someone else. I was fortunate. I worked in a college radio station and had heard an interview promo record that the label, Sire, had sent out to prime the pump with college radio. You have to remember that there was no Internet back then — the idea of a mix-tape or a cool college station was as close to open music discovery as one could find. And I had heard a few of the songs. I still could hear ‘Alex Chilton’ in my head as I waited in line. It was intense, it was both less raw than the band’s previous work and a solid continuation of their approach. The power and direct lyrics of that song stay with me today. But back then the production was so different than the previous records. “Was that horns on the one song?” I thought to myself. “That is strange for a ‘Mats record.”

So, we stood in line in the Minnesota heat waiting to buy ‘Pleased to Meet Me.’ We knew it was going to be good. And as we were stood waiting, striking up conversations with other ‘Mats fans, we could see the boxes being opened through the windows. You wonder which one you are going to get. You know you are going to take it home and play it completely — side 1 and then side 2 and then repeat. If I followed my normal routine for a first listen, I would have several hours set aside to just listen and try to absorb it.

There was excitement in the line when the door opened. We were told that we could only buy one copy, a few people grumbled. It did not matter to me. The rest is still a daze – pretending to be interested in a few other things but that was not true and I simply did not have enough money. I vaguely remember buying the record, making some small talk, leaving for the car and holding the new baby close to my chest, lest it fall. This was a record, it could be damaged on a fall and I did not have the money to buy another and could not. Somehow I got home when all I wanted to do was to hear it. The crazy excitement of music discovery flowed in my veins. New music. New Replacements music. I remember coming in to my apartment and putting the record on… it was not until the third song that I realized I had not closed the door.

It was perfect.

It remains perfect.

“Step right up son…”

Your Tuesday Afternoon Alternative Goes 1984 Draft

April 1, 2014April 1, 2014 your tuesday afternoon alternative Radio Show c. Wright's Parlour Tricks, Crackpot, Joe Anderl, Shrug, The 1984 Draft, The Afghan Whigs, The Motel Beds, The New Old Fashioned, The Rebel Set, The Replacements, The War on Drugs, William The Accountant, Wussy

This week we are joined by Joe Anderl of The 1984 Draft talking about music, shows, and stuff Joe wants to talk about! Expect new music from The Afghan Whigs, The War on Drugs, The New Old-Fashioned, c.wright’s Parlour Tricks, The Rebel Set, Crackpot, William The Accountant, The Motel Beds, Wussy, and much more!

Expect some classic indie with The Replacements and Dayton’s own SHRUG!

So, listen online at WUDR or 99.5 and 98.1fm in Dayton! Send us requests @ drjwudr on gmail and tweet us @ drjwudr on twitter! See you soon!

Your Tuesday Afternoon Alternative and Summer Shows!

June 18, 2013June 18, 2013 your tuesday afternoon alternative Radio Show, Your Tuesday Afternoon Alternative Summer, Summer Shows, The 'Mats Reunion, The Connells, The Replacements

This week we are celebrating a Replacements reunion, The Connells playing out, and many great live shows and festivals to get excited about this summer!

We will be playing a combination of new and older indie music with an emphasis on bands that are playing this summer.

Join Mrs. Dr. J and Dr. J for Your Tuesday Afternoon Alternative tomorrow from 3-6pm on wudr.udayton.edu and 99.5 and 98.1 fm in the Dayton area!