Year: 2014

Of all the cool ’80s alternative rock bands, the loveable ramshackle jag-offs in the Replacements were the least likely to give a toss about, oh, anything much at all. That attitude permeated everything about the Minneapolis quartet, and it was always a big reason for the band’s appeal. It was also intrinsic to a creative process responsible for some of the most enduringly smart-yetstoopid pop rock of the last
30 years.

Think about it: This really wasn’t a band you imagined collecting its own memorabilia. Hell, you got the feeling the members could barely collect enough cash for the month’s rent. (I dunno, maybe Paul Westerberg has a issues old issues of Spin stuffed in a drawer somewhere.)

So if this new photo history were a Replacements album, they’d probably have titled it “Someone really saved all this crap?” But thankfully some fans did, and they’ve managed to cull everything together for this very worthy photo history that will have you chuggin’ brews and cranking classics such as “I Will Dare” and “Bastards Of Young” until ungodly hours of the night.

Waxed-Up Hair and Painted Shoes is a gold mine of Replacements ephemera, made all the more special by the fact that a majority of the stuff included here was produced in those halcyon days of the early 1980s, that pre-internet world when everything in alternative music was basically done by word of mouth, word of zine, and word of flier.

Fliers, in particular, played an important part in the life of the bands of the ’80s such as the Mats, and there are some great ones in this collection. Also special are the numerous live photos, most unseen by any fans and rounded up by co-author (and VG gear editor) Dennis Pernu. If you always heard about original guitarist Bob Stinson’s penchant for wearing tutus and dresses at shows, but never got to experience it live, well, there are plenty of pictures here to satisfy your sartorial curiosity.

Overall, it’s big fun to take a spin down memory lane with these boys. The band has aged well, particularly its songs, and the recent spat of attention cast its way is certainly warranted and welcome.

To sum up Waxed-Up Hair and Painted Shoes, one of the Replacements’ song titles comes to mind: Color me impressed.

This article originally appeared in VG‘s March ’14 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

As Concord Music continues its Original Jazz Classics Remasters, we get three records recorded for Pablo Records from the ’70s that feature Joe Pass on guitar. He’s normally remembered for the solo work he did on his Virtuoso series. But as these albums show, he was also a fine sideman who could back soloists with ease and, when called on to solo, supplied his own firepower.

Pass’ solo work highlights “I Got Rhythm” with him and pianist Oscar Peterson locking in. His work on Gillespie’s “Be Bop (Dizzy’s Fingers)” is stunning hyperspeed soloing. And his work on “Nuages” on Skol is worth the price of admission in and of itself. All three of these records are welcome additions to a jazz collection.

Frank Potenza was a student and friend of Pass, and he recruits former Pass bandmates John Pisano on guitar, bassist Jim Hughart, and drummer Colin Bailey. It’s a simple, swinging affair that allows both guitarists ample room to show their skills. Potenza proves he learned his lessons well, and his wonderful lone guitar intro to “Do Nothin’ ’Til You Hear From Me” is masterful. The record is a nice tip of the cap from former friends and a student who was paying attention.

This article originally appeared in VG‘s March ’14 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Despite the ongoing effort to strap the name Jimi Hendrix to everything from vodka to golf balls, his story remains a great American saga. Like Robert Johnson and Charlie Christian before him, he burst upon the music scene like a meteor, then flickered out too soon.

With the CD release of the live recording of the Jimi Hendrix Experience at the Miami Pop Festival and the DVD documentary Hear My Train A Comin’, Hendrix aficionados as well as newcomers get two informative and entertaining new packages. Each is full of insights on the man and his music.

The Experience’s performance on May 18, 1968, at the Miami Pop Festival is strong, but they’ve played better – then again, you could do a whole lot worse. Fans would be hard-pressed to find a complete Hendrix concert where every note speaks to the angels. This is a bona fide show culled from the evening set, with two additional tracks from the afternoon set.

More transcendent renditions of “Red House,” “I Don’t Live Today,” and “Hey Joe” exist elsewhere, but Miami Pop Festival offers continuity, immediacy, and raw visceral interaction. Mitch Mitchell, Noel Redding, and Hendrix careen, tumble, and strut. The concert features an early appearance of “Hear My Train A Comin’” and the debut of “Tax Free,” which is the highlight of the recording. Mitchell performs an awesome drum solo, Hendrix riffs like crazy, and the band pushes and pulls in beautifully chaotic jazz-rock improvisation.

The American Masters documentary Hear My Train A Comin’ includes rich concert-performance film from the Miami Pop Festival; New York Pop Festival on July 17, 1970; and – especially exciting – raw, unprofessional footage of his last performance, at the Love & Peace Festival/Isle of Fehmarn, on September 6, 1970. There’s also a “Top Of The Pops” TV performance of “Purple Haze” from March 30, 1967.

Directed by Bob Smeaton, the documentary hits all the major story points and provides fluid narrative and fresh insights from Colette Mimram, Linda Keith, and Fayne Pridgeon – Hendrix certainly loved the ladies. We gain positive insights into his personality rather than dark conspiracy theories. With seamless editing of old and new interview clips, the cherry stuff includes candid photos, home movies, and all that great show footage.

This article originally appeared in VG‘s March ’14 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.