Here's a clip I just stumbled across of one of my favorite singer-songwriters doing a great, sloppy version of the classic.

So I wonder what tuning he is using here.I know he plays in open G a lot, and it's capoed like it could be, but the way he's moving his left hand it doesn't appear to be G. Standard maybe?

He did a nice job. But what does he say at the end??

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Title5Take1
He did a nice job. But what does he say at the end??

i can't make it out completely but i am guessing he's making a joke ... when they were Replacements, he had said a lot of bad stuff about the Stones ... then in later years he matured and said he did that just for the press & that he actually always liked the stones ... so seems like he's saying something about never doing the stones, but not sure.

The Replacements did this song, as "Jumpin' Jack Flask" (lol). It was on their live cassette WHEN THE SHIT HITS THE FANS (a sorta authorized bootleg).

[en.wikipedia.org]

I like the end...when it's over...at last !

Paul is a huge Keith fan, and he does amazing stuff in open tunings. I saw him live and stood right in front of him and couldn't believe the chord voicings he came up with on guitar (while singing, no less). He does a lot of open G, but has developed his own style. He also plays in open E a lot, but creates really interesting chords rather than the standard stuff.

Looks like it's capoed on 5, and he's playing in Bb.

Paul is a very underrated guitar player. I saw him do a similar version of JJF in Northampton, MA in 2002 (about a week before this version was recorded) and subsequently got the bootleg from the show...it remains one of my favorites.

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Goldsmith
Paul is a very underrated guitar player. I saw him do a similar version of JJF in Northampton, MA in 2002 (about a week before this version was recorded) and subsequently got the bootleg from the show...it remains one of my favorites.

The chords he plays on "Merry Go Round" in open E are amazing. Very tough to play. I've tried. Wish I had a video I could post.

Paul also really got great sounds out of a Les Paul Junior into a Marshall, especially during his Replacements days. Just the right amount of sweet distortion, but not so distorted that he couldn't strum it like an acoustic.

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LeonidP

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Title5Take1
He did a nice job. But what does he say at the end??

i can't make it out completely but i am guessing he's making a joke ... when they were Replacements, he had said a lot of bad stuff about the Stones ... then in later years he matured and said he did that just for the press & that he actually always liked the stones ... so seems like he's saying something about never doing the stones, but not sure.

"I refuse to do the Stones ending, so that was a fake. Thank you. Goodnight.".

When he comes back to the mike he says, roughly, "I really would like to thank you very much for (inaudible), and for the happiest days of my week." I can't make it out exactly, but it's not about the Stones.

Right on 71Tele, glad somebody else here agrees with me about Westerberg as a guitarist. He's a damn fine rhythm player and pretty sharp on lead too (if not admirably sloppy, kind of like Keith in his heyday). Has anyone else heard the story about how Keith was working in the same studio as Paul when he was doing his (Paul's) first solo album and Keith would crank up PW's song "Knockin' On Mine" which features an awesome open G riff?

Anyway, I dig this version. It's obviously a throwaway and not meant to be anything great, but it's just Paul being Paul, paying tribute to our favorite rnr band.

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theimposter
Right on 71Tele, glad somebody else here agrees with me about Westerberg as a guitarist. He's a damn fine rhythm player and pretty sharp on lead too (if not admirably sloppy, kind of like Keith in his heyday). Has anyone else heard the story about how Keith was working in the same studio as Paul when he was doing his (Paul's) first solo album and Keith would crank up PW's song "Knockin' On Mine" which features an awesome open G riff?

Anyway, I dig this version. It's obviously a throwaway and not meant to be anything great, but it's just Paul being Paul, paying tribute to our favorite rnr band.

Pretty much all of his Grandpaboy "Mono" album is an homage to Keith's guitar playing - both the Chuck Berry chunky rhythm and the open G. Check out the opener "High Time". I couldn't find that one, but this one from the same record is almost as good. Check out the solo at 1:30. Fantastic....By the way, you probably know that Paul did all the leads on "Don't Tell A Soul" when the 'Mats were between guitarists. On songs like "Valentine" and "Alex Chilton" he was no slouch.

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Edited 1 time(s). Last edit at 2011-04-01 03:46 by 71Tele.

Dude, his leads on Valentine and Alex Chilton are hot sh*t. I have to wonder how upon hearing those how many leads actually belonged to Bob Stinson before he left. As for "High Time" - awesome open G riff! And so simple. He can also do a killer Chuck, though he seems to have borrowed the technique more from Keith (as have I).

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theimposter
Dude, his leads on Valentine and Alex Chilton are hot sh*t. I have to wonder how upon hearing those how many leads actually belonged to Bob Stinson before he left. As for "High Time" - awesome open G riff! And so simple. He can also do a killer Chuck, though he seems to have borrowed the technique more from Keith (as have I).

We are singing from the same hyme book, brother! Why more Stones fans are not rabid 'Mats fans is beyond me. I discovered them belatedly in the 90s, and they got me through the decade, just as the Stones output was seriously waning.

A ragged but right version. Watch his hands! Makes it look so easy.

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71Tele

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theimposter
Dude, his leads on Valentine and Alex Chilton are hot sh*t. I have to wonder how upon hearing those how many leads actually belonged to Bob Stinson before he left. As for "High Time" - awesome open G riff! And so simple. He can also do a killer Chuck, though he seems to have borrowed the technique more from Keith (as have I).

We are singing from the same hyme book, brother! Why more Stones fans are not rabid 'Mats fans is beyond me. I discovered them belatedly in the 90s, and they got me through the decade, just as the Stones output was seriously waning.

Holy crap me too! My big brother was a Westerberg solo fan and he got me into him, and through that I discovered the 'Mats. And I agree, why aren't more Stones fans into this guy? Ever heard "Come on Come on" (aka Come on, little bitch)? Would have made a killer Stones track.

And regarding that video, damn you're right. To this day man, I cannot get that Alex Chilton riff down. Tabs have been no help, and my own ears have even failed me. Whatever this guy does with the guitar is clearly his own thing.

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theimposter
And regarding that video, damn you're right. To this day man, I cannot get that Alex Chilton riff down. Tabs have been no help, and my own ears have even failed me. Whatever this guy does with the guitar is clearly his own thing.

Me too. I was just working on Chilton. I think it's in standard tuning but he does some amazing voicings - the descending thing on the verse, for example. I think he slips in a major 7th note on top of the D chord on the main chorus (a C# note on the high E string). It gives it that ringing thing I've been missing when I try to play it.

Hell, I can't even get the opening riff just right. I have read differing views on whether it is in standard tuning, or some kind of open tuning. But he probably makes the best use of G since Keith. Sure, the guy from Black Crowes has a nice command of open G, but he just always sounds like he is trying to imitate Keith. Paul takes the tuning and makes it his own thing.

damn, you know somewhere out there is a pic of Paul and Keith together. I have been trying to find it, albeit with no luck. But I know the sucker is out there as I have seen it.

I've had the same experience trying to figure out Replacements riffs ... at times I can't even figure out the chord changes because the guitar is so unusual, and Tommy Stinson's bass lines are often melodically out there too.

however, I do think that, in rock music, if he makes it look easy, it has to be easy. Once you figure out what "it" is.

what is Westerberg up to nowadays? I followed his listless solo career for a long time, enjoyed much of Mono, but I've tuned out since then.

Paul hasn't done a proper album in about 6 years, but he keeps churning out these little random single and ep's. And, if you can believe it, he did the soundtrack for a Disney film in 2007! I love his solo stuff, even if it's inconsistent. He seems to have found his voice again with Mono/Stereo and stuck with it ever since.

BTW, in my experience and in my opinion, if it looks that easy - it's not!

it's puzzling that he can sustain himself on those small projects. Can't imagine the Replacements back catalog shifts too many units, and he must be in debt for those solo albums.

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cc
it's puzzling that he can sustain himself on those small projects. Can't imagine the Replacements back catalog shifts too many units, and he must be in debt for those solo albums.

Well, they reissued both the Twin Tone and Reprise catalogs of the 'Mats a few years ago in deluxe editions (wish the Stones and ABKCO would do as good a job). Rumor for a while was that "Mono" was really the Replacements, but I think Paul played all the instruments on it. Tommy and Paul were going to reunite for a tour but it was nixed by Axl Rose (of all people) who held Stinson to his G&R contract. Chris Mars doesn't play drums anymore, and for some reason they didn't involve Slim Dunlap in the two "reunion" tracks they recorded a few years ago...Let me also say, having watched Westerberg's playing standing right in front of him, he may make what he does look effortless, but certainly not "easy".

I would have no interest in a Replacements reunion ... they were very much of their context. Westerberg seemed to lose purpose without the band to give him a scrappy identity. He tried for a more mature/literary image, and wrote some excellent songs on those solo albums ("Love Untold" comes to mind), but most of it struck me as the product of someone clearly depressed.

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cc
I would have no interest in a Replacements reunion ... they were very much of their context. Westerberg seemed to lose purpose without the band to give him a scrappy identity. He tried for a more mature/literary image, and wrote some excellent songs on those solo albums ("Love Untold" comes to mind), but most of it struck me as the product of someone clearly depressed.

Well, they had the good sense to go out at the right time. They were stupid to fire Chris Mars, and I think they knew it, but they couldn't take it back. Some people never forgave them for dumping Bob Stinson (personally I loved Slim Dunlap, especially live). Maybe a reunion wouldn't be great, but damn they were a great band.

Yeah, Mono and pretty much all of Paul's post 2000 solo stuff was him playing all of the instruments (drums often provided by a drum machine). I agree he has and continues to write great songs (nice mention of "Love Untold" cc), and while he might have sounded depressed, well listen to the Replacements stuff - he was always a pretty sensitive guy. He probably missed his band and the success they SHOULD have had even more after it was over. But he soldiered on as a songwriter and out of his love of rock and roll - which is mostly why I posted that video. One great rock and roller paying tribute to another.

And for the record I also loved the two "reunion" tracks a couple of years ago, even if it wasn't the full 'Mats. I also agree it would have been cool to have brought Slim Dunlap back into the fold, just for a time. He was kind of the Mick Taylor/Ronnie Wood of the group in a way I suppose.

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theimposter
Yeah, Mono and pretty much all of Paul's post 2000 solo stuff was him playing all of the instruments (drums often provided by a drum machine). I agree he has and continues to write great songs (nice mention of "Love Untold" cc), and while he might have sounded depressed, well listen to the Replacements stuff - he was always a pretty sensitive guy. He probably missed his band and the success they SHOULD have had even more after it was over. But he soldiered on as a songwriter and out of his love of rock and roll - which is mostly why I posted that video. One great rock and roller paying tribute to another.

And for the record I also loved the two "reunion" tracks a couple of years ago, even if it wasn't the full 'Mats. I also agree it would have been cool to have brought Slim Dunlap back into the fold, just for a time. He was kind of the Mick Taylor/Ronnie Wood of the group in a way I suppose.

Maybe more like the Brian Jones/Mick Taylor!