Thanks for checking out more of my musings on a handful of bands–and writers–that truly matter. I’m thinking today about Rob Sheffield’s Talking to Girls About Duran Duran, which is quite smart, and organizes each wide-ranging chapter around a specific song. In one of the smartest bits I’ve read about Paul McCartney, he suggests that he and his mates’ fandom for Sir Paul entailed considerably more danger than their devotion to Keith Richards, for example. Yes, Mr. R. needed the occasional blood transfusion to keep his parts in order, but Rob remained confident that he and his mates were never at risk of adopting Mr. Richards’ more dissolute habits. McCartney, though, through his devotion to Linda, was capable of making some terrible songs, and was apparently undaunted by how terrible they were–proving how blind love can be. That condition, Sheffield figures, was fully in reach, and that inspired in his friends and himself a real sense of terror.
Like so many good things in the eighties, The Replacements came late to Stockton. Based upon two record reviews and my catching “Bastards of Young” once, maybe twice, on the radio, I purchased Tim (1985) just after its release. (On the same trip to Tower Records, I also picked up Husker Du’s Candy Apple Grey (1985)–both on vinyl, of course.) Up to that point, few bands represented desire writ large quite like Duran Duran. The clothes, the hair, the voice, the bass lines—and the videos! This band and their handlers knew what to do with MtV, Night Flight, and other video programs, and they had some great pop tunes, too. Still, in terms of my adolescence, Duran Duran was my Keith Richards. I had little chance of cavorting with models on schooners, or of chasing them through the rain forest, or of photographing them in the boxing ring (!?!). Enter The Replacements.
After viewing Color Me Obsessed, I was in touch with an English ex-pat now residing in San Diego who missed the flannel wave of the early to mid-1980s. I wondered how those records would stand up to initial listenings, and steered him to Let It Be, Tim, and All Shook Down. (Have you heard the remastered versions of these albums? Are they a real improvement? I’d love to know.) I then cued up Sorry Ma, I Forgot to Take Out the Trash (1981), and the opening a capella line of “Customer”–“I’minlovewithagirlbutI’mnothingbutacustomer!”–and realized that Paul Westerberg was my Paul McCartney: Westerberg’s rendition of the “Hello-I-love-you-won’t-you-tell-me-your-name” variety of adolescent desire, along with the raucous accompaniment by Mars, Stinson, and Stinson, allowed me to make sense of those tumultuous years. (The bookend to “Customer” was Tim’s “Kiss Me on the Bus”–“On the bus, that’s where we’re ridin’ / On the bus, O.K., don’t say hi, then”–and, in the ensuing years, these tunes inspired the fortitude I deployed to make the acquaintances of a cashier and two fellow Muni riders.) If The Clash set the bar for making aesthetically effective and politically effective music, few bands could touch The Replacements on the topics of adolescent (male) desire, power, and everyday life.
In the next post, I will get back to the documentary itself, which–like The Replacements–is endearing with a hint of sloppiness.