Paul Westerberg
(Dry Wood)
Paul Westerberg’s Basement Tapes experiment continues with this 49-cent, single-track album-length download, and given the uneven nature of his post-Replacements career, even at this price some will ask: ‘Yeah, but is it worth it?’ Thankfully, the iconic rocker seems revitalized, as though somewhere amid the blown amps and crappy drum kits littering his Minneapolis basement studio he also found the inspiration to rock out again. There are flashes of ‘Mats-worthy material in this single-track bleed of complete songs and radio dial-twisting snippets, and the format, while undeniably distracting at times, fits the rough-and-tumble nature of the bargain-basement recording. More importantly, it suits the nostalgic hue of Westerberg’s songs. Weaned on radio, not an iPod, Westerberg is for all intents and rock ‘n’ roll purposes old, but he remains a child of the Golden Age of FM. So even though it’s tucked away at the end and composed primarily of tiny snippets, the medley of covers here (including the Beatles, Steppenwolf, the Rolling Stones, Alice Cooper, and the Monkees) almost serves as a statement of purpose.
But despite Westerberg’s memorable history with Shit Hitting Fans covers, the focus here is on some of the best post ‘Mats material he’s written. As there are no song titles, a few highlights, using chorus lyrics or otherwise handy handles:
“Devil Raised a Good Boy,” a tribute to Johnny Thunders, and the best balls-out rocker Westerberg’s written since Pleased to Meet Me’s “I.O.U.”
“On Visitor’s Day,” a twangy Exile-like cut about a regretful convict with the memorable line, “By the time you get your license, I’ll be up for parole twice/And twice denied.”
The catchy pop opener, “Terry, Who You Gonna Marry?,” a companion piece to “Love Untold” from Eventually, and maybe the most nuanced thing to ever emerge from his basement.
“Rock ‘n’ Roll Battle,” another tasty country rocker with the self-deprecating (yet ironic) line “I’m on the brink today of writing something memorable/Oh, well.”
“Keep It Inside,” one of those bouncy, sloppy mid-tempo rockers that typically highlight his solo records (think “Lookin’ Up In Heaven” from Folker or “Knockin’ Em Back” from Come Feel Me Tremble).
“I’m Clean,” a double-time shortie that also suggests Westerberg’s inner Replacement ain’t quite dead yet.
The record has its flaws, of course, befitting the ramshackle nature of the format and recording limitations. Westerberg fans should immediately take up a collection and hire him a drummer – any drummer – because if there are worse out there I sure don’t want to hear them. While they’re at it, spring for a few days in a real studio, too. Don Was’ heinous production on Suicaine Gratification may have been what sent Westerberg down the ladder of success and back into his basement, but the lo-fi approach is wearing thin. And the cringe-worthy songwriting isn’t all gone – “Goodnight Sweet Prince” lumbers on for way too long even without all the annoying overlapping snippets encroaching. It’s also a painful reminder that if there’s one Replacements-era element Westerberg has never recaptured it’s the straight-forward ballad that he used to excel at.
Finally, after the covers medley, the run-on track finally closes out with Westerberg’s son accompanying him on a smokin’ outro; too early to be a passing of the torch, it does remind us about that whole 49-years-old thing, and that it’s listeners who should have adjusted their expectations by now. Once done, 49:00 reveals plenty of its own charms. JOHN SCHACHT
