Paul Westerberg
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About Paul Westerberg
from www.allmusic.com
"...The Replacements initially formed in 1979, when Paul Westerberg joined a garage punk band formed by brothers Bob (guitar) and Tommy Stinson (bass) and drummer Chris Mars. Originally, the band was called the Impediments, but they changed their name to the Replacements after being banned from a local club for disorderly behavior. In their early days, they sounded quite similar to Hüsker Dü, the leaders of the Minneapolis punk scene. However, the Replacements were wilder and looser than the Hüskers and quickly became notorious for their drunken, chaotic gigs. After they built up a sizable local following the Minneapolis label Twin/Tone signed them.
Sorry Ma, Forgot to Take Out the Trash, a sloppy hardcore collection, was released in 1981 but failed to make much of an impact on the national scene. It was followed the next year by the Stink EP, which followed the same pattern as the debut. It was the band's second album, 1983's Hootenanny, that first garnered the band attention and helped build their fan base. On Hootenanny, the group started playing around with other genres, adding elements of pop, straightforward rock & roll, country, and folk, although sometimes the eclecticism was ironic.
Hootenanny set the stage for Let It Be, the band's critical and artistic breakthrough. Released in 1984, Let It Be showed that the band had successfully expanded their musical reach and that Westerberg had grown considerably as a songwriter; he was now capable of pop like "I Will Dare," full-throttle rock & roll, and introspective ballads like "Answering Machine." Critics and fellow musicians were quick to praise the band, and they developed a large underground following. The buzz was large enough to convince Sire to sign the band in 1985.
The Replacements' first major-label album, Tim, was scheduled to be produced by Westerberg's idol, Alex Chilton, but the sessions fell through; the album was produced by former Ramone Tommy Erdelyi. Upon its release in 1985, Tim garnered rave reviews that equalled those for Let It Be. Though the band was poised for a popular breakthrough, they were unsure about making the leap into the mainstream. As a result, they never let themselves live up to their full potential. The Replacements landed a spot on Saturday Night Live, but they were roaring drunk throughout their performances and Westerberg said "f*ck" on the air. Their concerts had became notorious for such drunken, sloppy behavior. Frequently, the band was barely able to stand up, let alone play, and when they did play, they often didn't finish their songs. The Replacements also refused to make accessible videos -- the video for "Bastards of Young" featured nothing but a stereo system, playing the song -- thereby cutting themselves off from the mass exposure MTV could have granted them.
After the tour for Tim, Bob Stinson was fired from the band, allegedly for his drug and alcohol addictions. The Replacements recorded their next album as a trio in Memphis, TN, with former Big Star producer Jim Dickinson. The resulting album, Pleased to Meet Me, was more streamlined than their previous recordings. Again, the reviews were uniformly excellent upon its spring 1987 release, but the band didn't earn many new fans. During the tour for Pleased to Meet Me, guitarist Slim Dunlap filled the vacant lead-guitarist spot and he became a full-time member after the tour.
Two years later, the band returned in the spring of 1989 with Don't Tell a Soul, the Replacements' last bid for a mainstream audience. The band had cleaned up, admitting that their years of drug and alcohol abuse were behind them, and were now willing to play the promotional game. Don't Tell a Soul boasted a polished, radio-ready production and the group shot MTV-friendly videos, beginning with the single "I'll Be You." Initially, the approach worked -- "I'll Be You" became a number one album rock track, crossing over to number 51 on the pop charts. However, Don't Tell a Soul never really took off and failed to establish the band as a major commercial force.
Defeated from the lackluster performance of Don't Tell a Soul, Paul Westerberg planned on recording a solo album, but Sire rejected the idea. Consequently, the next Replacements album, All Shook Down, was a solo Westerberg record in all but name. Recorded with a cast of session musicians as well as the band, All Shook Down was a stripped-down, largely acoustic affair that hinted at the turmoil within the band. Chris Mars left shortly after its fall 1990 release, claiming that Westerberg had assumed control of the band; he would launch a solo career two years later. The Replacements toured in support of All Shook Down, with Steve Foley, formerly of the Minneapolis-based Things Fall Down, as their new drummer. Neither the tour nor the album were successful, and the Replacements quietly disbanded in the summer of 1991.
Tommy Stinson formed Bash & Pop the following year; in 1995, he formed a new band called Perfect. Dunlap released a solo album in 1993. Bob Stinson died February 15, 1995, from a drug overdose. Westerberg began a solo career slowly, releasing two songs on the Singles ("Dyslexic Heart," "Waiting for Somebody") soundtrack in 1992; he also scored the film. He released his debut solo album, 14 Songs, in the summer of 1993 to mixed reviews. Paul Westerberg's second solo album, Eventually, was released in the spring of 1996.
After disbanding the Replacements in 1991, singer/songwriter Paul Westerberg resurfaced the following year with two songs on the Singles soundtrack. A year later, Westerberg released his first solo album, 14 Songs, in the summer of 1993. Although the record received generally positive reviews and spawned the modern rock hit "World Class Fad," the album failed to break the songwriter into the mainstream. Three years later, Westerberg released his second solo album, Eventually. Like 14 Songs and the entire Replacements catalog before it, Eventually received good reviews but failed to become a commercial success upon its spring 1996 release.
In the spring of 1997, Westerberg left Reprise Records. He recorded a one-off EP under the name Grandpaboy for the Boston-based indie label Soundproof/Monolyth Records; the label was co-owned by Darren Hill, who had previously played bass with Westerberg. By the time the EP was released in August of 1997, Westerberg had signed a new contract with Capitol Records, releasing Suicaine Gratifaction -- widely acclaimed as his finest solo work to date -- in early 1999. Unfortunately, Capitol's management was completely overhauled during the release of the album, causing the expected push behind the release to be prematurely buried. Westerberg was dropped and essentially disappeared from the music scene until 2002, when he suddenly announced the complicated Stereo/Mono project. He had signed with Vagrant Records with the intention of releasing a double album recorded half in stereo, half in mono. Obviously enthusiastic about the new material, he decided to release the mono side early under the Grandpaboy moniker two months early, and started an in-store tour that spring to promote both releases. Westerberg participated in the making of a documentary film about the in-tour and a subsequent series of solo shows at theaters, Come Feel Me Tremble, which featured concert footage contributed by fans who used video cameras to record the shows. Westerberg assembled a soundtrack album of unreleased material to coincide with the film's release in the fall of 2003; a year later, another homemade album, Folker, was released, which focuses on his more introspective side and featured an affectionate remembrance of his late father simply titled "My Dad"."
by Stephen Thomas Erlewine, © 2005 All Media Guide, LLC. All Rights Reserved.
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