Bob Stinson was a founding member of The Replacements and their lead guitarist from 1980 to 1986, when he was unceremoniously booted from the band amidst rumors of substance abuse and allegations that his musicianship was becoming particularly sub-par. This period of the band's legacy is predictably murky, but even if we accept the probable truth of the accusations, they're laughable in a tragic sort of way. Getting kicked out of The 'Mats in 1986 for being a fuck-up (either on or off-stage) is like getting kicked out of Disneyland for being too nice. Being a fuck-up was not just the Replacement's appeal, it was their image, an image to which each of the band members dutifully adhered. Unfortunately, images can quickly become nooses, strangling a band's credibility, not to mention creativity. And so The 'Mats decided to clean up their act, as much for outsiders (their new record label, Sire, perhaps?) as for themselves.

"Bob became the scapegoat, for whatever reason. Of course he could've gone too far and killed himself. But if you say, 'Could Bob have died?' then you have to ask if any of us could have died."

Whatever the reasons and whatever the circumstances, the music of The Replacements (the original line-up being Paul Westerberg on guitar and vocals, Bob on guitar, Bob's half-brother Tommy Stinson on bass, and Chris Mars on drums) lives on. And not surprisingly, it's the Bob Stinson-era of the band which has most assuredly stood the test of time. From the unrestrained punk rock of Sorry Ma, Forgot to Take Out the Trash and Stink, to their brilliant, anthemic, "how-the-hell-did-this-not-make-them-millionaires?" major-label debut, Tim, The 'Mats played music that brought together the buzz-saw punk of The Ramones and Sex Pistols with the crash-and-burn rock 'n' roll of The Faces and Johnny Thunders. And while lead 'Mat Westerberg garnered most of the headlines with his vulnerable, nail-on-the-head lyrics, it was Bob's guitar playing which, in many ways, was the emotional hub of the band's reckless music. Some of his leads sound like he's falling down the stairs. He probably was.

Sorry Ma, Forgot to Take Out the Trash
(1981) Twin/Tone Records
About as primitive as a great album can be. Short and fast three-chord punk, drunken, sloppy musicianship, and very raw production-but what else would work? Songs for drinking and smoking, with Paul showing flashes of his future lyricism: "I hate music, it's got too many notes" ("I Hate Music"); "I ain't got no idols, I ain't got no taste/ I'm shiftless when I'm idle, and I got time to waste" ("Shiftless When Idle," a song which anticipated Dyslexic Heart's nyah-nyah-nyah sing-a-long by ten years); "I gotta hide, I gotta run/ Try suicide, no brother that ain't no fun" ("I'm In Trouble").

Stink
(1982) Twin/Tone Records
More of the same. Eight songs-none of which is over two-and-a-half minutes long-with titles like "Fuck School," "God Damn Job," "White and Lazy," and Dope Smokin' Moron." Blistering, wall o' guitar punk, with an obligatory slow number thrown in ("Go"). One true-to-form 'Mats anthem in "Kids Don't Follow": "Kids won't listen, to what you're saying/ Kids ain't working, kids ain't praying . . . Kids don't follow what you're doing/ In my face, out my ear/ Kids won't follow what you're saying/ We can't hear."

Hootenanny
(1983) Twin/Tone Records
The first real stylistic evolution for The 'Mats, this is also the album where Paul Westerberg's vision begins to take focus. The songs are a little longer and a little more sophisticated, both musically and lyrically. And even though punk roots show throughout ("Run It," "You Lose," "Hayday"), the band has clearly matured beyond their three-chord past. From the folky blues of the title track, to the call-and-response, 50's rock 'n' roll flavor of "Take Me Down to the Hospital," to the "Strawberry Fields"-cum-"Oh Darling" homage to The Beatles in "Mr. Whirly," The Replacements seem to be giving us their take on rock 'n' roll's past, but clearly on their own irreverent terms. The two highlights for me are "Color Me Impressed" ("Stayin' out late tonight, won't be getting sleep/ Giving out their word 'cause that's all that they won't keep") and "Treatment Bound" ("We're getting no place, fast as we can/ We get a nose-full, from our so-called friends/ We're getting nowhere, quick as we know how/ We whirl from town to town, treatment bound").

Let It Be
(1984) Twin/Tone Records
The quintessential indie-rock record of the 1980's, this album is also the band's swan song with Twin/Tone Records. More than anything else, this album represents the coming out of Paul Westerberg as a lyricist. From the opening track, "I Will Dare," to "Androgynous," "Sixteen Blue," and "Answering Machine," Westerberg establishes himself as point man for teenage angst, dealing with relationship frustrations, sexual ambiguity, and being, well, "unsatisfied." Musically, the band refines its punk-meets-rock 'n' roll sound, even managing to incorporate 12-string guitar, piano, lap steel, and mandolin into their songs. And while the overall feeling is more restrained than their previous albums, you only need to put on "Tommy Gets His Tonsils Out" and "Gary's Got a Boner" to realize that The 'Mats can still flat-out rock.

Tim
(1985) Sire Records
The Replacements' major-label debut is their masterpiece, an album which can stand up against any rock 'n' roll album ever made. With the exception of the goofy "Dose of Thunder," nearly every song on this album is a brilliant sing-along anthem, equal parts heart-on-the-sleeve and balls-to-the-wall. And while this album may feature their most polished production to date (from Tommy Ramone, no less), the songs are absolutely inspired. The singing and playing manages to be hard, loose, and ragged, with only a minimum of their legendary sloppiness. This album also confirms that Paul Westerberg takes a back seat to no one in the lyrical department. If one record on this list is a must-own, Tim is it. Unfortunately, rock 'n' roll genius doesn't guarantee financial windfall, perhaps foreseen best in "Bastards of Young" when Paul sings: "God, what a mess, on the ladder of success/ When you take one step and miss the whole first rung."

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Contents on this page were published in the April/May, 1995 edition of the Washington Free Press.
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