Besterberg: The Best of Paul Westerberg (Excluding His Best Stuff Which Was When He Was in the Replacements)

Last week Rhino Records released the first-ever collection of Paul Westerberg's post-Replacements music -- Besterberg: The Best of Paul Westerberg. While Paul's best material by far was made during his time as leader of The Replacements (1980-1991), his solo music has been harshly and (in my view) unfairly criticized. The Replacements cast a large shadow (they were a major influence on bands like Nirvana, and were totally ripped off by the Goo Goo Dolls), and it has been very difficult for Westerberg to get free of it. It has been nearly 15 years since The 'Mats (the band's "nickname") broke up, and more than 20 years since that band's breakthrough album, Let it Be, was released, yet Paul's current creations are always compared to his former band. Paul did write all the songs for The Replacements, so it is fair to make a comparison. However, he is usually held to a standard that includes all the drunken excess and we-don't-give-a-fuck, punk rock attitude that always defined the band. Paul is no longer the same guy he was in 1984, and his fans need to get over that. Let him be who he is; and judge him compared to his current peers and not solely against your fond memories of his former amazing band. Once you do that, it is a lot easier to appreciate Paul's (admittedly somewhat spotty) solo output. I will now go through the new collection's tracks, and offer my expert opinion and keen insight. The set leans heavily on his earlier, major label releases, and skims over his more recent (and better) indie stuff. That is probably because Warner Bros. is backing the release, and those records were on Warners.

1. "Dyslexic Heart" -- This is arguably Paul's best known song as a solo artist. It was the first track he released after the band broke up, but not one of his best. The track was featured on the soundtrack to Singles, and was the premiere single. The song is a good example of what is wrong with Paul's post-Mats material: he often tries too hard to be "clever" lyrically. I, like most of his fans, think he is one of the best lyricists of the rock era. The words just seemed to flow effortlessly out of his mouth, and he always seemed to be able to express exactly the confusion, angst, anger, joy, or whatever that YOU were feeling. This song is not effortless. He tried way too hard. This is considered something of an alternative rock radio staple. I have no idea why.
2. "Knockin' On Mine" -- This one comes from Paul's first complete solo record, 14 Songs. This song is one of his better solo songs, and captures a lot of the feeling and attitude of The Replacements. It's a little more controlled sounding, but still has enough raw energy to make it great. "Knowledge adds, wisdom lets slide"

3. "World Class Fad" -- This was the first single from 14 Songs, and another great track. The song seemed at the time to be coming from the perspective of a bitter "almost rock star" being angry that the music he pioneered was finally being made successful...by someone else! Critics thought he was criticizing Kurt Cobain who had just become famous at the time. In reality, it was Westerberg warning his younger counterparts that going for the brass ring isn't all its cracked up to be. This song most resembles The Replacements of any of his solo material.
4. "Runaway Wind" -- This is a pretty weak ballad that resembles a lot of what was wrong about the Replacements' controversial Don't Tell A Soul album. The lyrics sound forced, and the music doesn't really go anywhere. I'm not a fan. It was on 14 Songs, also.
5. "Things" -- A decent poppy jem from 14 Songs. It's all about the "things I long to tell you." It's kinda sweet and kinda cheesy, depending on your mood at the time.
6. "Seein' Her" -- Kind of a throwaway b-side from the "World Class Fad" single. Pretty much for collectors only. The song's chorus goes something like, "Everything about her/ I like everything about her." Not a whole lot of depth. Still, it kinda rocks.
7. "Man Without Ties" -- Another throwaway b-side from "World Class Fad."
   
8. "A Star is Bored" -- This one Paul gave away to Melrose Place: The Music, a pretty weak soundtrack to the trashy TV show. Paul's song is a solo acoustic jem that has some heartfelt lyrical parts, mixed in with some really dumb lines. He is clearly trying too hard to be clever on this one. I mean, look at the title!
9. "Stain Yer Blood" -- Kind of a decent Mats-esque rocker from Friends: Music From the TV Series CD. Good thing this song is on the collection. Believe me, you wouldn't want to have to buy that Friends CD to get this song.
10. "Love Untold" -- This is a really touching song that served as the first single from Paul's second solo release, 1996's Eventually. The album is a mixed bag, but this tune is great. His lyrics are kinda mixed, too, but I kinda like, "does anyone recall, the saddest love of all/ the one that lets you fall, with nothing to hold/ it's a love untold."
11. "Once Around the Weekend (Alternative Mix)" -- A remixed version of the rather generic song from Eventually. I'm not sure if this version has been released before, but it's hardly different than the original version.
12. "Angels Walk" -- Another song from Eventually, and this one was supposedly dedicated to former Replacements' guitarist Bob Stinson who had recently died. It's a good mid-tempo song, and a nice gesture towards Bob even though he fired the guy back in '86.
    

13. "It's A Wonderful Lie" -- After the relatively disappointing sales of Paul's two solo records, he was dropped by longtime record label, Reprise. Paul took a year or so off and re-emerged in 1999 on Capitol Records with Suicaine Gratification. The album was co-produced by Don Was (Rolling Stones), and was largely recorded at Paul's house. This song is a really nice, well-written solo acoustic song. It is quite autobiographical with lines like, "I'm past my prime, or was that just a pose? / It's a wonderful lie, I still get by on those" The song is among his best ever compositions.
    
14. "Lookin' Out Forever" -- A mid-tempo rocker from Suicaine Gratification. It sounds a lot like the songs on his previous solo recordings. I'm not too fond of the chorus. It's still pretty somber like most of the record. Westerberg was dropped by Capitol after only one record. It made him re-evaluate his musical "career" and come to some serious decision making. He took another extended absence from recording.
15. "Nowhere Man" -- This Beatles cover comes from the soundtrack to the Sean Penn movie, I Am Sam. Paul does a competent, solo acoustic rendering of the song. It's not that memorable, though.
16. "High Time" -- While Paul was deciding what to do with his career, he began recording some raw, bluesy songs in his basement studio. He decided to release the material under the name Grandpaboy. Though it is easily recognizable as Westerberg, his name was not listed anywhere on the credits. Grandpaboy released a five-song EP in 2001, and then a full-length record -- Mono -- which was released together with his next solo record, Stereo. Paul signed with punk rock indie label Vagrant Records who released the two albums in 2002. "High Time" was a poor choice to represent the Mono collection. I have no idea why this one was chosen.
17. "Let the Bad Times Roll" -- This is a really depressing, acoustic song from Stereo. Again, I would have chosen a different track like say, "Boring Enormous," but nobody called me. Stereo is a stellar album, and is highly recommended by me (plus you get the bonus Grandpaboy CD).
18. "What a Day (For a Night)" -- The Mono/Stereo set put Paul back on the critics' lists, and seemed like a real return to form. He returned to touring after more than five years off the road, and received a huge and warm reception from his fans. Paul followed up that set with two more simultaneously released albums. Again, one as himself, and the other as Grandpaboy. This song comes from the Come Feel Me Tremble CD. This is another high-water mark in Paul's career. Unfortunately, the accompanying Grandpaboy CD, Dead Man Shake, is not represented on this set. It is an awesome, basement-recorded, raw, blues rock disc. It was released by blues label Fat Possum, and is the closest Paul has ever come to catching that raw energy that so typified the best Replacements material. Buy it if you can, and you might want to check out the DVD movie, Come Feel Me Tremble, which documents Paul's 2002 tour.
19. "All That I Had" -- This is one of the two previously unreleased songs on this collection. It's a decent, uptempo acoustic-based song. I can go either way on it.
20. "C'mon, C'mon, C'mon" -- The other unreleased song. It's a rocker, and the lyrics sound like he's saying "c'mon c'mon c'mon little bitch." That's probably not what he's saying, but I can't tell for sure. This one could have stayed on the shelf.

If you don't any of The Replacements CDs, I suggest starting there first. Try Pleased To Meet Me or Tim. They are great places to start. There is also a 2-CD collection called All For Nothing/Nothing For All. That set only features songs from the band's final four albums, and nothing from its first four, so it is a little lacking. Supposedly, Rhino Records will be making a career spanning box set sometime next year. If you like The Replacements, but don't have any of Paul's solo stuff, then Besterberg is a good choice. Paul's most recent solo CD, Folker, is not represented on this disc since it just came out last year.

Bright Eyes on Air America Radio Tonight!

Bright Eyes' Conor Oberst will be appearing on "The Majority Report" tonight on Air America Radio. Co-host Janeane Garofalo says Oberst may perform the infamous anti-Bush song that he performed on The Tonight Show, "When the President Talks to God." The show begins at 7 pm Eastern time. If Air America is not on a station in your city, it is available to stream on the internet.

Faint/Bright Eyes Show Report

It seems that the reviews of the current Bright Eyes/The Faint tour have been pretty accurate. Bright Eyes should not follow The Faint. The Faint is just too upbeat and wild to have such a mellow act follow them...even Bright Eyes. As I stated in a posting yesterday, my friend that I was going to the show with had to cancel at the last minute. In all honesty, that worked out better. Once I got to the Mid America Center and got to will call, I realized that although I had two tickets, I only had one laminate. So, my friend would have been spending a lot of time by herself, or I wouldn't have been able to enjoy my "all access" status. And I did enjoy that all access status!

When I got my tickets and came inside I bumped into Matt McGinn who is the bassist for Cursive. He is always really nice, and it was cool to see him. (**I learned some information on Cursive which I will get to later**) My laminate meant that I could go on the floor, in the seats, to the luxury boxes, or backstage. I decided to take a look around the arena since I had never been there before. It's a pretty new place, and it is nice for an arena. While wondering around on the floor, I bumped into one of the promoters who took me backstage to the production office. After downing a few of The Faint's beers (sorry guys), I went and checked out a little bit of opener Mars Black's set. He was decent, but I wasn't much in the mood for hip hop at that moment. I decided to wait backstage until The Faint was ready to go on.

I should point out that I have probably seen The Faint about 50 times since they started playing back in '98. I never ever thought I'd see the day when these guys were playing in an arena (point of fact, they did a tour as openers for No Doubt in 2002 that had them in arenas, but I didn't see that tour). The Faint rocked. Hard. They are very suited to an arena show. They had great visuals, the band was energetic on stage and moved a lot, and they were able to keep the crowd on their feet for the entire 70 minute set. The songs mostly came from the band's most recent record, Wet From Birth, but they did play some oldies from Danse Macabre and Blank Wave Arcade. I'm sure they will NEVER play anything from their first record, Media. Their set was very well received and the crowd was really loud. Just before their last song, I headed backstage to steal a beer before they got there.

I will say this for The Faint. They have some hot groupies. There were so many hotties in their dressing room that I thought I was at a Motley Crue show (the girls weren't quite that sleazy though). I congratulated the band and left the dressing room. I wanted to let them celebrate with their friends and family. I headed back to the production office to wait until Bright Eyes took the stage.

Though I am a bigger fan of Bright Eyes than I am of The Faint, I have to admit that Bright Eyes was nowhere near as good last night. Part of the problem is that The Faint is so upbeat, and Bright Eyes so downbeat that the contrast is too severe. Bright Eyes was very good, but should be pared with different bands for a smoother show. Most of the set consisted of songs from the excellent Digital Ash in a Digital Urn CD. The "band" on this tour featured two members of The Faint, the guitarist from Yeah Yeah Yeahs, the cellist from Cursive, and some other folks I didn't recognize. They sounded great, and received a decent response from the crowd, but not the thunderous applause received by the previous band.

I started to get a little bored of the show and headed out into the crowd to see if I could find any friends that I hadn't seen yet. Well, I didn't see any friends, but I did see the girl that I would most like to make "friends" with. I have no idea what her name is, but I see her at all the shows. She is usually accompanied by her boyfriend who is probably about 20 years older than her. The woman is one of the most attractive girls I have ever seen, and she has great taste in music. (not the actual girl but a reasonable facsimile) When I saw who she was going out with I assumed she was just some gold digger dating an old guy for his money. I then found out that the guy is not rich at all (and he ain't that good looking so she must like him for his "personality" -- which could work to my advantage if they break up). The guy was not at the show, and she was with two friends. Neither was as sexy as her. I caught up to her out in the lobby and she was alone making a call on her cell phone. If I had been more on top of things I might have at least tried to introduce myself and made a "move." I know she has a boyfriend, but she is not married, so there is always a chance. Well, I pussed out and just went backstage.

I came back out to hear Bright Eyes do my favorite song of theirs, "Lover I Don't Have To Love," before deciding to head home. Before I did, I bumped into a friend I hadn't seen in a while and he was speaking with a guy named Rob who tour manages for Cursive. **He told me that the band has decided to record another album (they have been on an indefinite hiatus since last year) and do one more tour! This is good news for Cursive fans, and I think an exclusive for Dark Stuff!!**

The show took a lot out of me so I am going to blow off seeing Rilo Kiley tonight at Sokol Auditorium. In case you are wondering, the tickets are still available here. I have seen Rilo Kiley before and was not impressed. Opening the show is the excellent Neva Dinova, and Tilly and the Wall (not so excellent). If you're going, have a good time. I won't be seeing you there!

Tegan and Sara Tonight at Sokol

Don't forget to catch Tegan and Sara tonight at Sokol Underground. As far as I know this is the identical twin duo's first ever appearance in Omaha. They were originally supposed to open for the Killers who were supposed to be playing in the upstairs room of Sokol tonight. That show got moved to another date without the girls, so now they are doing their own show. Opening tonight are two great, nationally recognized local artists Little Brazil and Son, Ambulance. Tickets are still available here or at the door.