FANS (2 of 3)
Writing about the Oscars was a bad idea. But 'Shit Hits The Fans' rolls on.
THE SHIT HITS THE FANS, TRACK 8:
'Hear You Been To College'
Another blues song. I think one this might be a Replacements' original? Is that possible?
Notable on the 'Shit Hits' because 10 seconds in, Paul, who'd been listening back to the audience tape at some later date accidentally hits 'record' and drunkenly looks for 'stop'. It was probably two buttons down on the walkman, about an inch or two away--no worries, he finds it eventually.
On this song, you can really feel the room expand around the band. The crowd is so quiet; every other 'mats bootleg I've heard is filled with audience requests for random cover songs. This might've been the recording that spawned all that, I don't know. The brazen few who do show up to this act like it's just another night. What the fuck is that, man? this is history!
For me, '...College' is the crowning moment of the night. I'm listening to it for the 6th time in a row, and it sounds like the band has resigned themselves to play this show even though the crowd doesn't number or care much. I'm guessing this show is on a Sunday night, but the band doesn't know what month it is, what day of the week it is, etc. It's clearly underattended; the audience members represent the valient souls who forced themselves out of their whirlwind OKC skins before shuffling off to work the next day. I'd kill to be one of them, drinking in as much of this timelessness as they can.
I remember seeing some bar band play a Sunday night show in New York once and it had the exact same feel. A couple years later (about '98), Buffalo Tom put out a song called Sunday Night which sounds feels and smells like Sunday night. An audio bullseye.
Prediction: the world will end at a Sunday night rock show.
Update: This isn't a blues song. Paul sings, "This ain't blues. This is white boys who ain't got a job. And if you can tell the difference..." and something unintelligible.
Ok, I've listened to it 12 times now. But make no mistake, the switch has been thrown. The Replacements are about to turn into the sloppiest classic rock cover band ever.
THE SHIT HITS THE FANS, TRACK 9:
'Saturday Night Special'
Who knew Skynyrd could sound like Kiss? Westerberg takes a shot at two consecutive verses but obviously doesn't know a single word. Except 'special', but he doesn't sing that one until the band's already given up on him.
On bass, Tommy's checking his tune after every song. Remember how passionate we were at 16?
THE SHIT HITS THE FANS, TRACK 10:
'Iron Man'
The high comedy moment of the night. Paul says, "Iron Man, huh?" Belly laugh from the crowd. "How 'bout uh....yeah, hit it." While Paul tries to figure out Iron Man, Bob cuts into War Pigs. Paul is still figuring out the Iron Man riff. Bob and Chris are now playing War Pigs. Bob hesitates. he starts playing the Iron Man riff but fucks it up. Paul's still processing--he mumbles, "uh, war pigs..." One second later, all four replacements are playing Iron Man.
Paul namechecks Tony Iommi. it's all over less than a minute later.
Here's a fun game to play at home: you can time Paul's brain activity. About 1:20 in, the band gives up on the song. Six seoncds later, Paul shouts out the lyric 'planning his vengeance', the only lyric besides 'I am Iron Man' he knows. It's pretty sad/happy. Tommy's already checked his bass tune. And we move on.
THE SHIT HITS THE FANS, TRACK 11:
'Misty Mountain Hop'
Tommy starts this one. Brother Bob joins in. Stinson love! Chris Mars comes in right on cue. Paul sits out on guitar and doesn't know any of the words except 'really don't care'.
Really don't care. Paul Westerberg really doesn't care. "Ok, what next."
THE SHIT HITS THE FANS, TRACK 12:
Bob threatens to break into Zep's 'heartbreaker'. Tommy follows along. He's just a kid! Sad story: Bob invited Tommy into the Replacements so he could keep his eye on him, so he wouldn't turn into the waste-oid that Bob became. How'd that turn out? Bob's dead and Tommy would rather play with Axl. It's all pointless.
Heartbreaker doesn't take. Stinson hearts are broken, as we move onto
THE SHIT HITS THE FANS, TRACK 13:
"Bad Company?"
CAN'T GET ENOUGH OF YOUR LOVE
This is a song the Replacements know really well. I hate this song. Meanwhile I google 'the shit hits the fans' and find out the show was played on November 11, 1984 in Oklahoma City. I google 1984 calendar and find out that November 11th was a Sunday. Awesome.
THE SHIT HITS THE FANS, TRACK 14:
Jailbreak.
This one goes out to Ted! Thin Fuckin' Lizzy. The mats play it long enough to get the point across. Proves the time-honored theory that people only need to hear a song long enough to recognize it to enjoy it. You don't need to hear a whole song played at a show unless it has a cool ending like 'Layla' or 'Dancing With Myself'. This is why The Clash rules and Yes sucks.
More tomorrow.
THE SHIT HITS THE FANS, TRACK 8:
'Hear You Been To College'
Another blues song. I think one this might be a Replacements' original? Is that possible?
Notable on the 'Shit Hits' because 10 seconds in, Paul, who'd been listening back to the audience tape at some later date accidentally hits 'record' and drunkenly looks for 'stop'. It was probably two buttons down on the walkman, about an inch or two away--no worries, he finds it eventually.
On this song, you can really feel the room expand around the band. The crowd is so quiet; every other 'mats bootleg I've heard is filled with audience requests for random cover songs. This might've been the recording that spawned all that, I don't know. The brazen few who do show up to this act like it's just another night. What the fuck is that, man? this is history!
For me, '...College' is the crowning moment of the night. I'm listening to it for the 6th time in a row, and it sounds like the band has resigned themselves to play this show even though the crowd doesn't number or care much. I'm guessing this show is on a Sunday night, but the band doesn't know what month it is, what day of the week it is, etc. It's clearly underattended; the audience members represent the valient souls who forced themselves out of their whirlwind OKC skins before shuffling off to work the next day. I'd kill to be one of them, drinking in as much of this timelessness as they can.
I remember seeing some bar band play a Sunday night show in New York once and it had the exact same feel. A couple years later (about '98), Buffalo Tom put out a song called Sunday Night which sounds feels and smells like Sunday night. An audio bullseye.
Prediction: the world will end at a Sunday night rock show.
Update: This isn't a blues song. Paul sings, "This ain't blues. This is white boys who ain't got a job. And if you can tell the difference..." and something unintelligible.
Ok, I've listened to it 12 times now. But make no mistake, the switch has been thrown. The Replacements are about to turn into the sloppiest classic rock cover band ever.
THE SHIT HITS THE FANS, TRACK 9:
'Saturday Night Special'
Who knew Skynyrd could sound like Kiss? Westerberg takes a shot at two consecutive verses but obviously doesn't know a single word. Except 'special', but he doesn't sing that one until the band's already given up on him.
On bass, Tommy's checking his tune after every song. Remember how passionate we were at 16?
THE SHIT HITS THE FANS, TRACK 10:
'Iron Man'
The high comedy moment of the night. Paul says, "Iron Man, huh?" Belly laugh from the crowd. "How 'bout uh....yeah, hit it." While Paul tries to figure out Iron Man, Bob cuts into War Pigs. Paul is still figuring out the Iron Man riff. Bob and Chris are now playing War Pigs. Bob hesitates. he starts playing the Iron Man riff but fucks it up. Paul's still processing--he mumbles, "uh, war pigs..." One second later, all four replacements are playing Iron Man.
Paul namechecks Tony Iommi. it's all over less than a minute later.
Here's a fun game to play at home: you can time Paul's brain activity. About 1:20 in, the band gives up on the song. Six seoncds later, Paul shouts out the lyric 'planning his vengeance', the only lyric besides 'I am Iron Man' he knows. It's pretty sad/happy. Tommy's already checked his bass tune. And we move on.
THE SHIT HITS THE FANS, TRACK 11:
'Misty Mountain Hop'
Tommy starts this one. Brother Bob joins in. Stinson love! Chris Mars comes in right on cue. Paul sits out on guitar and doesn't know any of the words except 'really don't care'.
Really don't care. Paul Westerberg really doesn't care. "Ok, what next."
THE SHIT HITS THE FANS, TRACK 12:
Bob threatens to break into Zep's 'heartbreaker'. Tommy follows along. He's just a kid! Sad story: Bob invited Tommy into the Replacements so he could keep his eye on him, so he wouldn't turn into the waste-oid that Bob became. How'd that turn out? Bob's dead and Tommy would rather play with Axl. It's all pointless.
Heartbreaker doesn't take. Stinson hearts are broken, as we move onto
THE SHIT HITS THE FANS, TRACK 13:
"Bad Company?"
CAN'T GET ENOUGH OF YOUR LOVE
This is a song the Replacements know really well. I hate this song. Meanwhile I google 'the shit hits the fans' and find out the show was played on November 11, 1984 in Oklahoma City. I google 1984 calendar and find out that November 11th was a Sunday. Awesome.
THE SHIT HITS THE FANS, TRACK 14:
Jailbreak.
This one goes out to Ted! Thin Fuckin' Lizzy. The mats play it long enough to get the point across. Proves the time-honored theory that people only need to hear a song long enough to recognize it to enjoy it. You don't need to hear a whole song played at a show unless it has a cool ending like 'Layla' or 'Dancing With Myself'. This is why The Clash rules and Yes sucks.
More tomorrow.
posted by stinkrock at 10:41 PM
3 Comments:
This all sounds suspiciously like a Microdot rehearsal.
I dare say (I will dare) that Jailbreak need only be played through the intro, then somebody should yell'Breakout!', and then the solo and then end.
Even Lizzy.
BTW, is "Musician of 3+ bands" accurate anymore?
I'm kind of a stickler for these things.
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