Slim Dunlap "The Old New Me/Times Like This"

 

Slim Dunlap "The Old New Me/Times Like This" 8/10

Since mother nature is once again seeing fit to dump perhaps another foot of snow on us here tonight, I am going to stay put sonically in Minneapolis again.  Tonight's spin is the 2015 RSD edition (and first vinyl press) of Slim Dunlap's 2 solo albums.  The quite and "mature" Replacement came out of the shadows and gave us a great collection of roots rock oriented songs.  These albums were released separately and a few years apart during the CD era, but work as a double album, as they are sonically linked.  

Slim Dunlap was the lead guitar player for The Replacements in their late period.  After the band fired original lead guitarist Bob Stinson for his erratic behavior and a substance abuse problem that overshadowed the alcoholism pervasive in the whole band, The Replacements went on to record their 5th album, "Pleased to Meet Me" at the legendary Ardent Studios in Memphis as a trio.  After returning to Minneapolis, The Replacements realized that they were going to need another guitarist to tour.

The record label was looking to make stars out of the upstarts, and was pressuring them to find a young and hot guitarist to fill out the group.  In true Replacements fashion, they instead landed on Bob "Slim" Dunlap (the "Slim" moniker was given to Dunlap by Replacements front man, Paul Westerberg). He was 8 years older than the rest of the band, already a family man, but a steady hand on the guitar.  Slim was supposedly reluctant to join the band, agreeing to a drinking contest with Paul Westerberg to see who could hold their liquor more.  If Slim outdrank Paul, he was out.  If Paul outdrank Slim, he was the new axe man.  As the story goes, Slim blacked out and woke to a handwritten note from Paul telling him when and where band practice would be that day.

Slim's guitar work as a Replacement is sort of overlooked as the later albums in the bands catalog are less celebrated releases.  "Don't Tell a Soul" is full of great songs, but is mired by slick late 80s production, not necessarily befitting to a no-BS, plug in and play rock band.  Still, his leads texture many of the songs and leave them sounding memorable.  Same goes for the final Replacements album "All Shook Down."  Mostly a solo effort by Paul Westerberg, all of the band members stop by on various tracks, with a few songs being made up of the proper band.

As with a lot of classic albums and artists, Slim's work has received a much needed, second look in recent years.  The Replacements' "Dead Man's Pop" boxed set gave us the "Don't Tell a Soul" album as the band intended.  The original mix of the record isn't over produced with fake reverb, bad compressors, unnecessary keyboards, too many bad guitar tracks.  Instead, we get to see the record sound more as it was originally conceptualized.  Same goes for the fantastic live set from the era, the triple LP, "Inconcerated."  Slim's lead playing blisters through the set, and shows really that he was a capable and fantastic rock guitarist.

Following the breakup of The Replacements, each member went on to become a solo artist on their own right.  Paul Westerberg was the obvious choice as a breakout solo artist; being the chief and much celebrated writer of most of the band's material.  Tommy Stinson, the loyal lieutenant, went on to put out his own fantastic collection of songs with his band Bash and Pop.  Drummer Chris Mars put out some solo material, performing as a one man band.  The last Replacement to drop a solo record was Slim, but it was worth the wait.

Upon release, Slim's two albums were unceremoniously doomed to the cutout bin at whatever record stores pick the efforts up.  Smack dab in the middle of the early 90s alternative rock revolution, Slim's records were rootsy throwbacks, having much more in common with Keith Richards and the Xpensive Winos than the punk and alternative of his pervious band.  Slim unfortunately suffered a debilitating stroke in 2012, which sparked not only a reunion of The Replacements, but an industry wide effort to raise funds for Slim's healthcare.  This led to a star-studded cast releasing 45s, covering Slim's solo songs.  This reignited interest in Slim's music, and led to this repress of his albums.

These songs were well worth their weight upon release, but were criminally overlooked.  The real shame is that it took tragedy for the industry, as well as the fans to discover or rediscover this great collection.  Slim is paralyzed in half of his body due to his stroke, and will unfortunately never make a record again.  But we do at least have these albums to evaluate and enjoy.

"The Old New Me"

1) "Rockin Here Tonight"

A nice bluesy slow burner sets the tone for the Slim Dunlap sound.  It sounds straight out of a smoke filled studio from the mid to late 70s.  A time when the record labels would put house money on pretty much anybody with a talented group of friends and a few ideas.  Very reminiscent of Ron Wood and Keith Richard's solo endeavors.

2) "Just for the Hell of It"

A sort of rockabilly jam about stirring up trouble.  It doesn't sound like a Replacements song, but it does feel a little autobiographical, chronicling the legendary debauchery of the band.  You can hear a bit of Paul Westerberg's helping hand in this song (Westie makes a few even handed appearances on the record).  

3) "Ins't It?"

This sounds like a sort of lounge act-ish jam.  Very lounge singer swinging rhythm as Slim laments.  The big reverb out of the tube amps from Slim's sewn together guitar oozes the sound of a well crafted dive bar band.

4) "Partners in Crime"

Slim's first ode to his lovely wife Chrissie.  It just sounds like a wonderful song about reaching middle age together.  An absolutely beautiful ode to a very understanding wife.    The song feels like an invitation to Slim and Chrissie's life and just oozes authenticity and mature love.  It is the sound of a couple that can finish each other's sentences and still surprise one another.

5) "Taken on the Chin"

As the title implies, a song about licking your wounds after a set back.  A beautiful harp plays, complimenting an acoustic guitar, and pleasant keys creating an atmosphere.  As you dig deeper and deeper into this collection, Slim's unique ability to authentically write heart bearing and soul exposing anthems and ballads balanced with his ability to rock out are second to none.  This is a slow ballad, and it just makes you feel his pain.  This song is almost reminiscent of some late period Bruce Springsteen.

6) "From the Git Go"

Harkening back to maybe some Willie Nelson, we get this countrified blues number.  Slim is certainly drawing from Willie through his vocal delivery.  This one is a fun plea about someone who is jumping from bed to bed.

7) "Busted Up"

This was my first exposure to Slim's solo stuff.  After his stroke, the first band to release a 45 in his honor doing his songs was his beloved Replacements.  Paul and Tommy came together and did a nice send up of this one.  The original has insatiable rockabilly rhythm, and a lead guitar that sounds like it is playing a harp part (or maybe I've got that backwards).  Either way, a fun song, a bit out of time. 

8) "Ain't Exactly Good"

A very Keef-esque riff.  Another song reminiscent of the Xpensive Winos.  The trials and tribulations of leading a rock n roll band laid all to bare.  Slim's dirty playing just jumps out of the speakers.

9) "The King and Queen"

Another ode to his wife back home.  These songs are bittersweet, as they paint a picture of a cool couple that I think everyone at the bar once to sit down with.  They *still* probably are that couple, but Slim's health limits his ability to keep up these days.  Still, this one paints the picture of a faithful rock n roll wife having a blast as her husband takes the stage.

10) "The Ballad of the Opening Band"

Anyone who has been in a band, and didn't quite make it can relate to this song.  A celebration of the "also rans" the "stage warmers" and the band that goes on right as the doors open.  It feels a bit autobiographical both with the almost-famous legend of the The Replacements, as well as its aftermath where Slim was back to more humble digs.  This one may leave a little lump in your throat.

11) "Love Lost"

This is a great atmospheric jam.  A great surf guitar lead over a slow and steady rhythm section.  Really a great way for Slim to show his understated playing.

"Times Like This"

1) "Not Yet/Ain't No Fair (In a Rock n' Roll Love Affair)"

A rock number to kick off the second disc of Slim's originals.  The album doesn't feel or sound different from the first one, but the sound isn't stale either, so it works.  Here, we get two songs glued together.  When we turn the corner, we get.... a little studio trickery?  Well, not trickery, but we get some double tracked vocals, as opposed to the sort of off-the-cuff and fast and loose production of Slim's other stuff.

2) "Girlfiend"

Another rocker, full of a bit of punk strumming and appeal.  Once again, those double tracked vocals.  As I stated, this album doesn't sound or feel different from the debut, but there is a touch more studio magic happening, with a few overdubs added in.  The lead work feels a bit more contemporary for the time as well.

3) "Hate This Town"

We get another country send-up here.  One of the absolute assets of all of The Replacements is their ability to write to the Midwest experience.  Here we get a story about a man revisiting where he was from, dreaming of what could have been a more simple and fulfilling life.

4) "Little Shiva's Song"

An alt-rock jam, harkening back to the punk ethos of The Replacements.  This is probably the first song in the collection that I could take or leave.  It's not a bad track, but it just feels a little phoned in.

5) "Jungle Out There"

This is a bizarre experiment track.  Veering into weirdness, it plays with the roots rock structure of most of Slim's stuff.  This one is another track that maybe would have been best left to the cutting room floor. 

6) "Cozy"

We find ourselves back to what makes Slim exceptional.  This song real feels like another ode to a happily married life.  The feeling of a house built into a loving home, where a stable couple can go, breath a sigh of relief, and relax.  This is a great song about nesting in.  Helped by Slim's great guitar work and nice touches from a Hammond organ.

7) "Cooler Then"

Another song that could be straight off of a Keith Richards solo album.  The clean sound of the bass and drums transposed against the loose guitar playing, and Marlboro soaked lead vocal part.  We get a man looking back on when he was a rock star, who has comfortably settled into being a family man.

8) "Chrome Lipstick"

Acoustic blues forms our backdrop.  Slim tells us a story about a classic femme fatale here.  A lady that is going to haunt your memories after she floats past you. 

9) "Nowhere's Near"

A great song about the frustrations of the music industry and the fleeting nature of fame.  Very autobiographical and soul bearing song.  All of The Replacements really seem to really be able to articulate what it feels like to be from fly over country, just a few miles away from nowhere.

10) "Radio Hook World Hit"

This was my *other* first exposure to Slim's solo stuff.  This was Chris Mars' contribution to The Replacement's "Songs for Slim" 45 after his stroke.   An ironic send up to the frustrations of trying to write a single.  A man who likely knew his time to be a rock star had eclipsed, it feels very tongue in cheek.

11) "Times Like This"

A beautiful closing track/title track.  This is the final song we get from the guitar and voice of Slim, and though perhaps and unexpected farewell (at least on disc, as Slim continued to tour and play shows), it is the perfect end cap to this collection.  Slim's refrain "it's times like this that we learn what we really miss" is quite fitting.  Even the staunchest of Replacements fans likely missed Slim's solo efforts when they first dropped.  These songs stand up, and their timelessness really helps them stand up even more now than they perhaps did upon their release.

So there we have it; on review and we covered Slim's solo output on record.  Slim was a sideman to The Replacements, and likely didn't do much writing while in the band.  But this collection shows that he was a capable writer in his own right, with songs worthy of a listen to not only hard partisans for midwest rock, but anyone who enjoys roots rock, blues, country, and authentic writing.  Who knows, maybe medicine will catch up, help fix Slim up, and we will see him for a third act.  Until then, we have this fantastic body of work to celebrate his life and legacy by.