Primer #4 - Otis Redding

The Primer is our column wherein contributors compile a 60 minute playlist of a band near and dear to their heart. Using personal listening anecdotes, notes about specific tracks and a brief overview of each artist, The Primer is both a way for our contributors to trace their musical genealogy and for our readers to gain a new perspective on an artist they may have missed or dismissed.

For installment number four, we turn to singer/guitarist/songwriter, bourbon expert and second generation music nerd, Dan McKernan for an in-depth look at the legacy and genius of Otis Redding.

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Growing up the son of a true audiophile and music fanatic is not always as fun for the child that it seems it would be to an adult. While my friends fathers listened to the popular music of the day – Huey Lewis and the News, Billy Ocean, etc – or throwbacks from their youth – Bad Company, Grand Funk Railroad – my dad insisted on the kind of music to drive an 8 year old boy to hiding.  Our cars were a veritable speaker box of Booker T & the MGs and Ray Price, Eddie Floyd and Merle Haggard. Many a Sunday morning, our neighbors (willing or not) would be treated to the sounds of high-fidelity vinyl being played through as many as six high quality three way speakers. If the mood was right, an summer day could mean you could hear Hank Williams, or my dad’s favorite, Otis Redding, from half a block down. I spent Sundays locked in my room, avoiding the horrible sounds and my embarrassed face.

Ten years later, I’m coming home to my dorm room in Missouri late at night after a long day of class, night of work and a ton of homework to do. I put on the campus radio station and settle in to work, but I am distracted by the sound of pure audio liquid gold.  The horns, so crisp.  The guitar, funky. But most importantly, the singer – the voice is so soulful and powerful and my god, he must be singing from his knees, I mean, he sounds like his heart is being ripped out! The DJ played another song by the same artist and this one was the opposite – the singer sounded like he was jumping and the music was so exciting and the singer so exuberant.  Finally, a third song, and I had to know who it was. I picked up the phone and, despite it being 3:00 in the morning in Detroit, called my father.  

“Hey Dad, who is this?”  I held the phone up to the speaker. A minute passed, and my sleepy father answered.  “It’s Otis don't you know that?" The conversation went on for another few minutes before my father returned to sleep. Two days later, a package arrived from home with two cassette tapes simply labeled "Otis Redding." I've never been the same.

The facts about Otis are short and remarkable, and ultimately tragic. Born in Macon, Georgia to a gospel singing sharecropper, and growing up in Macon projects, Otis was singing gospel music on the radio by his pre-teens. He had to drop out of school by 15 to help support his family (his father had contracted tuberculosis). By 18 he was touring the southern "chitlin" circuit (this was still the segregated south).  His break came when he drove a friend to a recording session at the legendary Stax studio in Memphis, and was given a chance to record a couple songs. One was "These Arms of Mine."

By 1962, Otis was recording for Stax-Volt.  In the next few years, he collaborated with Steve Cropper of Booker T & the MGs to record and sometimes write some of the most enduring songs of the period.  His penchant for slow ballads earned him the nickname "Mr. Pitiful." His songs were covered by the Rolling Stones.  Aretha Franklin sold millions of copies with her version of Otis' "Respect." The Beatles cited him as an influence.  Bob Dylan rewrote "Just Like A Woman" for Otis to record (He never did, saying the song "still had too many words"). By 1967, Otis had achieved one of the most amazing feats of all, being as popular with white audiences as black audiences, while never abandoning the hard soul sound (or polishing it, like Motown).  

When he played the Monterrey Pop festival in 1967, his performance was legendary. While members of the Beatles, the Who and Rolling Stones, Jimi Hendrix, Janis Joplin, Paul Simon and more watched entranced from the wings, Otis Redding - backed by Booker T & the MGs and the Bar-Kay horns - gave one of the most legendary performances of all time. Many thought the festival would make Otis a household name.  

By 1968, he was dead.  He was barely 26 years old.

Otis, a tireless performer, and his band crashed into a lake in Madison, Wisconsin in December 1967. Only one person survived. One month later, his posthumously released "(Sittin' On) The Dock Of The Bay" went to number one, selling 4 million copies.

Otis Redding is the definition of soul music, because that's the only way he could seem to sing - pure soul.  Reaching down into the bottom of your gut, and belting out every word like it means the difference between life and death. Sometimes, its almost shouting. Sometimes, it's pleading, or even whispering. But it is always from the soul. This is a primer on one of the best there ever was, Otis Redding.

1.) These Arms of Mine (from 'Pain in my Heart')

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The one that started it all, this is one of the two songs Otis cut in leftover recording time. Otis was 21 when he cut this song, but sounds like a man twice that age for all the expression in his voice. A simple song based on reverb-drenched, arpeggiated guitar, and the voice like none other. You can understand why they signed him up from this record.

2.) That's How Strong My Love Is (from 'The Great Otis Redding Sings Soul Ballads')

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Backed by one of the greatest studio bands of all time, Stax featured Booker T & the MGs, Issac Hayes on piano and the Memphis Horns. This song shows it all coming together. Feel the bottom end under Otis professing his love? The Stones did, and made it a staple of their sets for years.

3.) Ole Man Trouble (from 'Otis Blue')

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The chord progression leaves the I-IV-V, but this is a blues song that kicks like a mule. Listen to the interplay of Al Jackson Jr's kick drum and Otis' lyrical accents. You don't hear this song, you feel it.

4.) Respect (from 'Otis Blue')

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Picking up the pace, here's one we all know. While this song was perfect for Aretha, Otis (who wrote it) gives a different feel to it. A man can ask for a little respect too! Be sure to check out the bass chords in the first chorus from Duck Dunn.

5.) Shake (from 'The Monterey Pop Festival')

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Here's the performer at work. I'm not a fan of live recordings, because I usually feel too much of the moment is lost. This is the exception. You can almost see Otis, sweat soaking his blue suit, working the crowd up. The pace is fast, the band is tight, and Otis gets the crowd into the act

6.) My Lover's Prayer (from 'Complete & Unbelievable: The Otis Redding Dictionary of Soul')

Otis wrote it and he sings it with all the passion of a man pleading to save a relationship. Particularly cool is the way the horns accent the end.

7.) Trick or Treat (from 'Otis! The Definitive Otis Redding'

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It's all swagger on this track, written by Issac Hayes and unreleased until the box set. The horn intro to the drums is sweet.

8.) Tramp (from 'King And Queen

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After Motown's success pairing Marvin Gaye with Tammy Terrell, Stax decided to try it themselves by pairing Otis with Carla Thomas, the smooth singing soul star. This song shows Otis' humorous side, a cool soul groove, with him and Thomas trading off jokey dialogue. The best part is when he tells her he can get her rats and frogs in place of mink furs...

9.) Mr. Pitiful (from 'The Great Otis Redding Sings Soul Ballads')

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Steve Cropper took the nickname Otis had been bestowed (because of the ballads he was known for), and turned it into a bouncy track perfect for the jukebox. "And I want yoooooo!"


10.) Cigarettes And Coffee (from 'The Soul Album')

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The sound of a confessional 3 am conversation, this shows the great phrasing Redding had. "If-you-would-take-things-under-con-sideration..." I'm not sure I would believe the song from anyone else.


11.) Hard To Handle (from 'The Immortal Otis Redding')

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More swagger, but with a funky feel, this was obviously a huge hit for the Black Crowes, and was a staple of the Grateful Dead's live set. Brilliant phrasing, badass horns.

12.) Your One And Only Man (from 'The Great Otis Redding Sings Soul Ballads')

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Some songs are just cool soul grooves. This is one.

13.) Love Have Mercy (from 'The Dictionary of Soul')

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The influence of the 60s outside of Memphis shows through on this track which has more in common with 60s rock than most Otis tracks. The bridge/outro almost comes out of nowhere too, before turning into a gospel ending.

14.) Merry Christmas, Baby (from 'Otis! The Definitive Otis Redding')

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It's close to the holidays, and this one is so awesome that it's obviously the version Bruce Springsteen based his version on.

15.) Just One More Day (from 'The Soul Album')

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A step forward from the more plaintive ballads, the soft organ touches and guitar lay a perfect bed, with the horns and drums just accenting when he belts it out and drives this track into the big gospel tinged ending.

16.) Try A Little Tenderness (from 'The Dictionary Of Soul')

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"I hate people who get the words wrong. It ain't "woolly" it's "weary" and it nobody's got stress, they're wearing a dress..." (Bull Durham) "One more tune, then it's off to enjoy a terrible relationship"

17.) Satisfaction (from 'Otis Blue')

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The Stones covered Otis, so he returns the favor.  This song builds, and almost seems to be getting away from him at the end as he keeps up the pace.

18.) You Left The Water Running (from 'Dreams To Remember: The Otis Redding Anthology')

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An acoustic based folk song, this was a demo Redding recorded to help Wilson Pickett prep his version. Another example of what could have been. It was released accidentally 10 years later as a single without the family's permission, and all remaining copies destroyed when they found out.  

"...And oh no oh no oh God - You Left the Water Running by Otis Redding, released seven years after his death, withdrawn immediately by his widow because she didn't..."
(High Fidelity)

19.) Day Tripper (from 'Live In Europe')

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The live version of this, from the legendary Stax tour of Europe in '66 shows that Otis was listening to more than just Soul music. The bass drives, the keys accent, and Otis turns it into a groove...

20.) My Girl (from 'Otis Blue')

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I love Motown, but this shows the difference between the gritty soul of Memphis and the smooth, polished Detroit sound. That's not to say Otis can't croon a bit, his smoothness here is like a great whiskey, with a bit of spice.

21.) I've Got Dreams To Remember (from 'The Immortal Otis Redding')

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This posthumous release harkens back to those early hits.  A bit older, a bit wiser, and truly heartbreaking. The call and response with the backup singers adds another wrinkle.

22.) (Sittin' On) The Dock Of The Bay (from 'The Immortal Otis Redding')

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Otis stayed in San Francisco for a while after Monterey, and left us this gem after his death. It's sad, because it shows how bright his future truly was, transcending soul to a wider music palate. What could have been.

Dan McKernan plays guitar and sings in a terrific Detroit band called Desolation Angels. He's also the creator of a blog about two things near and dear to my heart: Baseball And Bourbon!

Primer #3 - XTC

The Primer is a semi-regular column wherein contributors compile a 60 minute playlist of a band near and dear to their heart. Using personal listening anecdotes, notes about specific tracks and a brief overview of each artist, The Primer is both a way for our contributors to trace their musical genealogy and for our readers to gain a new perspective on an artist they may have missed or dismissed.

In this installment my dear friend David Baldwin, a high school teacher and savant-esque instrumentalist invites us to bask in the glow of his love for English popsters XTC. 


XTC is not a band one just falls into. It takes some effort to become an XTC fanatic. In fact, for many, it takes too much effort. A majority of their catalogue can be somewhat jarring, especially juxtaposed with the mainstream- you know, songs with traditional chord changes, the avoidance of dissonance, and easily-grasped hooks and choruses. Early-to-mid XTC is at times brash, dissonant, and frenzied. These characteristics alone might hold an appeal in and of themselves, but what really cements them as a great band is the way they managed, over time, to channel and wiggle that energy into some of the most delectable and beautifully-chorded harmonies ever put onto record. They are a group that musicians and music addicts alike might refer to as “a bands’ band,” considering their influence runs deep in the world of rock n’ roll, even if so many casual listeners will never know it. Thankfully, I’m no casual listener.

I was a latecomer to XTC. I was two weeks old when they started recording their debut album in 1977, yet my introduction to them came in 1992 when I heard “The Ballad of Peter Pumpkinhead” from their superb “Nonsuch” album. For many, that album might be a good place to start. It is an aural concoction of melody and harmony, orchestral flourishes, acoustic, and electric guitar tones and textures sprinkled throughout, and injected with that trademark XTC oddity and energy. Yet most of it is traditionally structured enough for a new listener.

I remember going into the ill-fated Blockbuster Music store back in the 90’s- a place in which customers were encouraged to unwrap and listen to CDs (probably before leaving to purchase them somewhere else at a better price.) I remember spending one afternoon here exploring Black Sea, Go 2, The Big Express, and Oranges and Lemons, the album covers of which had caught my eye, but except for a couple perfectly-crafted pop singles, ("Mayor of Simpleton", for one,) I found them confusing, unsettling, and strange. (“Why does the singer hiccup and growl out the melody? Are they intentionally playing those clashing notes?”) Later, after spending the appropriate amount of time exploring their quirkiness and craft, I came to recognize- and adore- the appeal of these and indeed of every one of their records.

It should be said, making a 60-minute playlist was an extremely difficult task. I started by quickly choosing some “essential” tracks and, alas, it came in at 2 hours. I also did not include anything from two of their albums: I find Go 2 to be their weakest album due to a combination of sophomore slump phenomenon and a potential identity crisis. Interestingly, I didn’t include anything from Skylarking, the album widely regarded as their masterpiece. I wasn’t planning it; it just worked out that way. I figure I disagree with those critics who decided it was their pinnacle, but it’s a great album in it’s own right. (Many casual listeners will have already heard “Dear God.”) Thankfully, I didn’t have to consider the Dukes of Stratosphear, their alter-ego, or I never would’ve made it through the selection process.

The truth is, getting into XTC takes time. If you want the stuttering post-punk squall, few bands can match the early, touring years of XTC. If you want harmony and songcraft, go for the later, studio years. My favorite XTC years are pretty much all of them, as all the stages and elements of XTC are part of the whole and add to what makes them great.

1.) The Ballad Of Peter Pumpkinhead (from 'Nonsuch') (1992)


Probably the first track of theirs I heard and as good a place to start as any, with the beauty of an electric guitar, naked and chiming. The instrumentation adds layer by glorious layer: drums, harmonica, bass, and the melody and metaphor of Andy’s voice-and-words. By the time the guitars layer on top of themselves, the chorus harmonies, tambourine, organ all weave in and’s a thing of unparalleled rock n roll beauty - a ballad that could go on forever. A timeless masterpiece.

2.) Statue Of Liberty (from'White Music') (1978)


Jumping back to the beginning, this spastic number comes from XTC’s debut album. Its raucous punk energy somehow doused with a splash of Britain in the 1950s. Barry’s staccato Wurlitzer, Andy’s yelped and hiccuped vocals...  and it might be described as punk rock proper.  (Sure, I know it’s 1977, but did he just say the phrase “with whom?”) The chorus in all its giddy ridiculousness and firecracker handclaps (woo hoo!) is shimmy-worthy.

3.) When You’re Near Me I Have Difficulty (from 'Drums and Wires') (1979)


A personal favorite, this song manages to perfectly capture, both lyrically and musically, the nervous energy that comes with falling for someone. It’s from their third album and the first featuring Dave Gregory on electric guitar. It is guitar pop brilliance.

4.) Love On A Farmboy's Wages (from 'Mummer') (1983)


From the first album released after they stopped touring, this track is a pastoral example of how XTC uses acoustic guitars in their aural palette. It also showcases Andy’s knack for storytelling, while still writing from the heart. And, as usual, it’s got a great bridge.

5.) Your Dictionary (from 'Apple Venus Vol. One') (1999)


Such simplicity in instrumentation: acoustic guitar, piano, cello... it’s a hauntingly beautiful song; The lyrical content- particularly spelling out swear words- might seem childish were it not so clearly meant in earnest and thus painfully personal. Andy’s bitterness is chilling. And yet it still ends on a hopeful note- resolving with a bridge that Brian Wilson himself would be proud of.

6.) The World Is Full Of Angry Young Men (from 'Rag & Bone Buffet') (1988)


A collection of outtakes, rarities, and soundtrack songs, Buffet contains some real gems, including this beautiful, loungey piano-driven Colin Moulding-penned B-side. I believe- to some extent- a band can be judged on their b-sides. Written circa 1983, everything but the drums were re-recorded in 1989. The piano-playing is lovely, but the guitar fill/riff ties it all together with ribbons of electric guitar strings.

7.) Merely A Man (from 'Oranges & Lemons') (1989)


Oh, the axework! The clamor! The bucka-bucka! The bold irreverence of the lyrics! The Beatlesesque horn break, the vocal harmonies! I can’t imagine not including this song. With the exception of maybe “Mayor of Simpleton,” this may win most-singable chorus on that album.

8.) Generals and Majors (from 'Black Sea') (1980)


My favorite XTC single of all time, it is perhaps the track that best captures the perfect blend of bombast and pop that characterized XTC in their touring years. Who would’ve thought that a whistled melody echo and a hummed-along counterpoint on the chorus could be used to such satisfying effect? The tumble thump snap of the drums clatters along like a machine in high gear. The guitars alternately chiming and then locking like gears….Come to think of it, in the 1970s and into the early 80s, it might as well have been XTC rather than BMW using the slogan “the ultimate driving machine,” as the Terry Chambers / Colin Moulding rhythm section was unstoppable.

9.) Desert Island (from 'Mummer') (1983)


Originally a B-side, this song about Great Britain is awash with Defoe-inspired island imagery. Like a beach holiday, the boys in the band are clearly having a blast here, and it shows. It also showcases their versatility as a band. (Is that a bandoneon?) Incredible musicianship from such a relaxed-sounding bunch. I will inevitably sing this the whole work week after hearing it.

10.) No Language In Our Lungs (from 'Black Sea') (1980)


A slow-burning rocker recorded in 1980. Never before this had XTC shown such restraint, such controlled power, such intensity, and such openness and space. They sound downright huge in this track. The arpeggiated guitars and the rumble tumble of the drums- punctuated with dramatic pauses and crashes- ultimately build to a tempestuous climax. And the lyrics here, about feeling powerless due to the fallibility of language, really resonate.

11.) Snowman (from 'English Settlement') (1982)


Arguably their most consistently solid record, English Settlement brilliantly nestles Dave and Andy’s acoustic and electric guitars into the rolling chassis of the Chambers/Moulding rhythm section. The intricate clockwork of the guitars, the droops and swoops of the bass guitar, the swaying lull and swell of the “why, oh why” harmonies...this is a classic. And, as usual, there’s no shortage of metaphor in Andy’s lyrical library. Also, nice use of the jingle bells.

12.) Dear Madam Barnum (from 'Nonsuch') (1992)


Some of my favorite lyrics of all. For this track, Andy returns to one of his favorite themes- dealing with wounded pride- and his under-the-bigtop imagery really works. There is an engaging thread of humor (and sincerity) ever-present within Partridge’s songs. Musically, this one is straight-forward, it’s a simple pop song with a few perfect chords thrown in and absolutely top-notch production. And, in true XTC form, the song’s bridge is musical and lyrical perfection.

13. I Bought Myself A Liarbird (from 'The Big Express') (1984)


In this song it just sounds to me like they flit up and down the frets grabbing handfuls of guitar strings and plucking ‘em, like they’re plucking feathers out of the metaphorical hypocritical melody bird. It’s just great.

14. The Mayor Of Simpleton (from 'Oranges & Lemons') (1989)


One of their biggest hits, and I had to include it. The catchy, self-deprecating lyrics will forever hold a universal appeal. The arrangement is likewise superb. Moulding’s walking (or rather hastily jogging) bassline cycles throughout the song with gorgeous precision. The real brilliance shines through the chords and melody. This is XTC’s perfect pop song. Love those chimey guitar tones.

15.) The Wheel And The Maypole (from 'Wasp Star: Apple Venus, Volume Two') (2000)


I feel it would be wrong not to include this, from this electric successor to Apple Venus. Really, it’s two songs joined at the hip. The “Maypole” section is what really pushes it into my list. It’s a rollicking stomper with some wonderfully melodic guitar handiwork. And the round-and-round counterpoint harmonies and figure-eight guitar lines at the end of the song gallop us off into the sunset.

David Baldwin teaches German and English to the high school youth of America, and has plied his myriad musical skills in a number of different bands including The Pantones, a band that he and Matt Carlson (the founder of Wax & Wane) have been in together for more than a decade. 

Primer #2 - The Replacements

The Primer is a semi-regular column wherein contributors compile a 60 minute playlist of a band near and dear to their heart. Using personal listening anecdotes, notes about specific tracks and a brief overview of each artist, The Primer is both a way for our contributors to trace their musical genealogy and for our readers to gain a new perspective on an artist they may have missed or dismissed.

In the second installment of The Primer, teacher, musician, songwriter and audiophile Dan Palmer scrambles to the bottom of his affection for The Replacements


The first time I heard of The Replacements was in a Rolling Stone review for their 1985 album,  Tim. While I thought they were intriguing, it wasn’t enough for me to invest in buying the album at the time.  Fast forward a couple of years, I was watching 120 Minutes on MTV, when they were featuring The Replacements. As I recall, this was the time that the guys in the band had shaved off their eyebrows. I thought that was pretty funny, and then they showed a video clip. The ravages of time have cleared my memory of what song I saw, but it was enough to get me to go buy one of their albums.

The guy at the record store just happened to be a huge fan of The Replacements, and proceeded to open up a copy of Pleased to Meet Me, their newest album, for me to listen to. From the first sounds of "I.O.U.", I was hooked. We listened to the album all the way through, and I had to buy it. The cool thing was that since it was an “open” copy, so I got a discounted price for it…go figure.

I quickly bought their other albums, and became a huge fan. When Don’t Tell a Soul came out, I thought it was a great album, even though many felt it was a sell-out.  I guess I can see that now, but I still thought it was miles ahead of the hair-metal crap that was crowding the airwaves.  

When All Shook Down came out, I loved the more stripped down feeling of it, even though it appeared the ‘Mats were done.  Surprisingly, they did tour on that album, and I saw three shows, even altering vacation plans to see them in Nashville.  Of course all things have to come to an end, and they did, too.  Sure, they’ve done some shows the past year or so, but it’s not the same, is it?

For this primer, I should provide some caveats.  First, this is not a greatest hits collection, per se.  Their albums always had throwaway filler songs, which could be pretty humorous to me.  These “fillers” were part of what attracted me to The ‘Mats, so I feel they must be included.  Another problem is that there are way too many songs to choose from.  I whittled down 2-1/2 hours of songs down to 1 hour.  Maybe somebody else can create a “replacement” primer to finish what I have started.  OK…here goes

1.) I.O.U. (from 'Pleased To Meet Me') (1987)


Since this was the first Replacements song I heard, I figured that I should start with it. This is from 1987’s Pleased to Meet Me, which is probably still my favorite ‘Mats album. The crunchy guitar riff, followed by Chris Mars’ huge drums reminded me that good rock and roll was still being made.

2.) Run It (from 'Hootenanny') (1983)


Ah yes, slightly more than 1 minute of punk madness. This is from their 2nd full-length album, Hootenanny. My favorite part is when Bob Stinson plays the “Dragnet” theme.

3.) One Wink At A Time (from 'All Shook Down') (1990)


This is just great songwriting, along with a great melody. “She’s got the devil in her eye, there’s only one way to exorcise him…one wink at a time…”  Brilliant stuff.

4.) Gary's Got A Boner (from 'Let It Be') (1984)

I remember seeing Ted Nugent’s name as being one of the co-writers for this one. At first I thought that there was no way that The ‘Mats would have even met the Nuge. Then when I listened to it and heard the riff from “Cat Scratch Fever", I got the joke. This is another one of their more infantile efforts, but how can you not crack a smile?

5.) Swingin' Party (from 'Tim') (1985) 


I’m going to confess something here. This is the only song that ever brought a tear to my eyes. OK, I’ll admit that I had quite a few beers in me, but did shed tears to this great song from Tim once or twice. This is one of those great Paul Westerberg lyrics that really show just how vulnerable people can be, especially when you’re an outcast. “If being alone’s a crime, I’m serving forever, if being strong’s your type then I need help with this feather.” I’m almost tearing up again right now.

6.) Alex Chilton (from 'Pleased To Meet Me') (1987)


A great power pop song written about one of power pop’s reluctant guiding forces. Of course, I didn’t get into Big Star until a few years later, but this song was the impetus to find out about them.

7.) I Hate Music (from 'Sorry Ma, Forgot To Take Out The Trash') (1981)


Another throwaway, but it’s a damned funny one. I still crack up when I hear Westerberg sing, “I hate music, it’s got too many notes.” And then to throw in the classic teenage angst of “I hate my high school, sometimes I went.” That’s right up there with Eddie Cochran’s “Summertime Blues.” And just remember, Tommy says so!

8.) Within Your Reach (from 'Hootenanny') (1983)


A great song from Hootenanny. I loved the sound of the flange on the guitar, which seemed to add to the drama of the lyrics. Westerberg always seemed to wear his heart on his sleeve.

9.) Answering Machine (from 'Let It Be') (1983)


Who hasn’t been frustrated with someone who won’t pick up the phone and having to talk to the answering machine? This is yet another great set of lyrics set to an abrasive guitar.

10.) Hold My Life (from 'Tim') (1985)


The Replacements always seemed to be teetering on the edge of disaster. Their drunken shows were legendary by this point, and this song reflects that. In the chorus, Westerberg sings, “Hold my life, until I ready to use it; hold my life, ‘cause I just might lose it.” Pretty much sums it up.

11.) I Will Dare (from 'Let It Be') (1984)


I thought it was pretty cool at the time to see that Peter Buck played guitar on this. Plus, Paul plays mandolin, several years before Buck used it for R.E.M., and plays it far better than Buck ever did, too. When they opened with this in Nashville, the crowd went nuts, and for good reason.

12.) Waitress In The Sky (from 'Tim') (1985)


This is one of the more puerile songs in the Replacement canon. In fact, Rolling Stone even used that word about this song in their review. I always thought it was pretty funny, and they played this every time I saw them.

13.) Takin' A Ride (from 'Sorry Ma, Forgot To Take Out The Trash') (1981)


The opening song to their first album, The ‘Mats came on hard and heavy. What middle-class outcast didn’t go out joyriding while blasting out loud music back then?

14.) Color Me Impressed (from 'Hootenanny') (1983)

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I always hated going to parties where all of the “cool” people looked down on the “losers.” This song speaks to that idea perfectly.

15.) Here Comes A Regular (from 'Tim') (1985)

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An ode to being a barfly. At the time that I first heard this in ’88, I hated the fact that Poison’s “Every Rose Has Its Thorn” utilized the same chord progression, and was mostly acoustic, too. I thought they were a bunch of talentless hacks then, and they still are today. Their song isn’t worth the sweat from Westerberg’s ass, if you ask me.

16.) Talent Show (from 'Don't Tell A Soul') (1989)

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Just because I only chose one song from Don’t Tell a Soul doesn’t mean I don’t like it. I get it, most fans think that this is a horrible album, but I really liked it when it came out, and I still do. I guess most people have a hard time with the over-reach of trying to hit the ‘big-time,’ but these were still pretty good songs. “Talent Show” makes the list because it has such a great hook, and what musician hasn’t felt the little twinge of nerves before going onstage?

17.) Kids Don't Follow (from 'Stink') (1982)

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This is the great opening song to the EP Stink.  First, what a great title for an EP. Second, what a great song to kick it off with. Stink crammed 8 songs into 15 minutes, with much of them being hardcore punk throwaways. However, this song spoke to every misfit in the country, even if most of them never heard it. The opening bit, with the police trying to get everybody to leave the party, is priceless. Then I later found out that it was Dave Pirner of Soul Asylum yelling “Fuck you, man!” 

18.) Nobody (from 'All Shook Down') (1990)

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I don’t know why I like this song, but I do, and so it’s on my list. Another set of fine lyrics from Westerberg. It’s hard to believe that he’d matured so much in his subject matter in just 8 or 10 years.

19.) Can't Hardly Wait (from 'Pleased To Meet Me')

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This is probably my favorite Replacements song. The opening riff is insistent throughout the entire song, with a great melody to go along with it. The Memphis Horns add to the brilliance of the song, along with the strings. Hell, Alex Chilton even provides some guitar fills for good measure.

Dan Palmer is a voracious music listener that teaches school in Saginaw, Michigan and plays guitar and sings in The Crushtones.