If you are coveting the awesome promo goodies for Live At Maxwell’s here’s your very own paper dolls. Da Capo Press, publishers of “Trouble Boys” by Bob Mehr, is giving away THREE prize packs!
Big giveaway for fans of The Replacements! Follow us @dacapomusicbooks and tag a friend below in order to enter to win everything you see here! We’ll pick 3 winners, drawing will close on Friday 10/13. We will reach out to the winners on 10/16. Thanks to @rhino_records for the swag! [Must be 18+ and in the US or Canada to enter.] #giveaway #bookgiveaway #thereplacements #troubleboys #musicbook
“Unsatisfied.” That’s the title of one of the Replacements’ greatest songs, and also a word that describes how serious rock fans feel every year when the Rock and Roll Hall of Fame nominations come around, realizing that bands like this and fellow Minnesotans Husker Du apparently don’t stand a chance of even coming up for contention, despite passing the test for combined influence and greatness several times over. The hall perpetually passing over brilliant proto-punk is really enough to give you the moody blues.
But as consolation this week, by sure coincidence, there is the release of “For Sale: Live at Maxwell’s 1986,” finally seeing the light of day as an actual professionally recorded document instead of bootleg after 31 years. It’s an amazing collection of 29 songs — most of them classics (“Bastards of Young”), a few of them not (“Gary’s Got a Boner”) — that helps remake the case for the Replacements as a band that should at least be considered in a three-way tie with U2 and Nirvana for the greatest to have come along in the post-‘70s era.
If the Replacements story is one of anarchic inebriation gradually giving way to more sobering introspection, then For Sale: Live at Maxwell’s 1986 is like that last college bender before entering the working world. This oft-bootlegged, now greatly enhanced 29-song recording finds the band on the brink of a crucial turning point, mere months after the release of their Sire debut Tim, and a few more before they ousted wild-card guitarist Bob Stinson. Fortuitously captured on a 24-track mobile studio set up at the venerable Hoboken venue, it’s a crisp, broadcast-ready portrait of the moment when the tug-of-war between the Replacements’ split personalities—the perma-blotto garage band vs. the refined rock craftsmen—had escalated into a bloody battle.
But nothing can top, the review from Mr. Bob Odenkirk…except the reply from the Mats 😄