Paul Westerberg Releases 2008-2017

The saga of Paul Westerberg's releases in the 21st century is.... confusing.....confounding.....maddening.....revelatory...pick your adjective. There's no easy way to chart Westerberg's artistic journey over the last two decades, especially after he ditched the conventional way of releasing music in 2005 - apparently for good. Indeed, his manager reported a few years ago that Paul had "retired," so for his most recent output what we're left with is a patchwork quilt of mostly digital releases, a rogue's gallery of pseudonyms and a release strategy that can best be described as "unconventional" - unannounced release dates, use of multiple platforms, discount pricing, lack of transparency - all seemingly done at random. And that's just how this music was unleashed on the world; the breadth of creativity that these off the radar releases encompass - ranging from absurd mayhem to absolute brilliance - is a whole different story, one that warrants continued study and an abundance of patience.... and that's assuming one is able to track everything down. Even by the standards of someone who has largely thumbed his nose at convention since bursting on the scene with The Replacements in 1980, navigating Paul Westerberg's discography in the 21st century is one wild ride.

4 years after the release of Westerberg's third solo album, Suicaine Gratifaction, in 1998, the new century started out in fairly conventional albeit accelerated fashion for Westerberg, with a flurry of 5+ albums worth of material being released in less than 3 years. The Stereo / Mono double album came first in 2002, the latter title (also released by itself) reprising the "Grandpa Boy" moniker for the first time since a pair of obscure releases in 1997: a 2 song single and a 5 song EP that introduced the world to yet another classic Westerberg nom de plume, Winthrope Marion Purvical V, and, in retrospect, presaged his shenanigans in the next century (see Grandpa Boy discography below). 2003 saw a Grandpa Boy follow up, the cover heavy Dead Man Shake (released on Fat Possum / Epitaph; the CD contained 2 more tracks than the LP) and Come Feel Me Tremble, issued both as a standalone CD and an accompanying DVD documentary with an abundance of additional material. Paul's last conventional album released under his name, Folker, came out in 2004. Except for Dead Man Shake, these releases were all on Vagrant, a Massachusetts-based punk/indie label.

This burst of activity from 2002-2004 also marked the beginning of what some fans have dubbed "the basement era." Suicaine Gratifaction appears to be the last full Westerberg solo album recorded in a professional studio. For Westerberg / Grandpa Boy releases this century, Westerberg has relied mostly on his basement home studio, recording, performing and producing everything on his own. This informal, at times ramshackle, approach greatly informed all of his releases from 2002-2017.

Westerberg 21st century work in pro studios mostly involves The Replacements and mostly occurred at Flowers Studio in Minneapolis. He recorded new material for a 2006 Replacements compilation and the Replacements' contributions to the Songs for Slim project at Flowers, as well as producing and contributing to a 2013 album for The Silks (see below). During the Replacements reunion era (2013-15), there was a session in Massachusetts for the bizarre "Poke Me in My Cage" release (see below) and there was also a rumored ultra-secret, exploratory session at Flowers for prospective new Replacements material of which little is known (some of the material attempted may or may not have shown up on subsequent Tommy Stinson releases). 

Two years after Folker, 8 original Westerberg compositions, with Tommy Stinson contributing bass and backing vocals to 2 tracks, were released on the soundtrack album to Open Season (Lost Highway, 2006), an animated comedy (a now rare 10 inch vinyl mini album was also released featuring 5 of Westerberg's soundtrack songs from the CD + 2 tracks unique to this release: an alternate version of 1 song and a "Replacements version" of a non PW song performed by Deathray on the soundtrack).

Then Paul seemingly pulled the plug connecting him to what we know as the "music industry."

This article is an attempt to make sense of Westerberg-related releases following Open Season in 2006, up to the final Dry Wood Garage release in September 2017, the last time the world has heard from Westerberg in any meaningful fashion. This period kicks off on a high note with 49:00, one of Westerberg's greatest creations and possibly his best post-Mats release. Any additional info will be updated as needed.

(last update 1/15/25)

PAUL WESTERBERG RELEASES 2008-2017

49:00 Of Your Time Life (full length – audio collage – 1 continuous track; 43:55)

01. 00:00 Who You Gonna Marry? (3:57)
02. 03:57 With or Without Her (Kentucky Risin’) (3:00)
03. 06:57 Something in My Life is Missing (3:41)
04. 10:38 Visitor’s Day (3:36)
05. 14:14 Thoroughbred (0:14)
06. 14:28 Devil Raised a Good Boy (3:10)
07. 17:38 You’re My Girl (0:26)
08. 18:04 Everyone’s Stupid (2:37) ***
09. 20:42 You're My Girl (reprise) (0:06)
10. 20:48 What Do You Want (0:19)
11. 21:07 Never Coming Back (0:45)
12. 21:52 Goodnight, Sweet Prince (3:55)
13. 25:47 Guess I’ll Be Going Then (0:07)
14. 25:54 Outta My System (3:22) **
15. 29:16 C'mon, Be My Darling (3:45)
16. 33:01 Down On the Farm (0:12)
17. 33:12 100,000 Pieces (1:12)
18. 34:24 I’m Clean (1:11)
19. 35:35 Your Sister (0:08)
20. 35:43 It’ll Never Die (4:03)
21. 39:46 Cover Medley * (0:55)
22. 40:41 I Think I Love You (1:05) (The Partridge Family cover)
23. 41:46 Oh Yeah! (2:09)

Total time = 43:55

* Includes snippets of “Hello Goodybe” - The Beatles; “Lost Highway” - Hank Williams; “Born to be Wild” - Steppenwolf; “Stupid Girl” - Rolling Stones; “I'm Eighteen” - Alice Cooper; “I'm a Rock” - Simon and Garfunkel; “Rocket Man” - Elton John; “Dandy” - The Kinks

** Another version with substantially different lyrics appears on the Hot Stove, Cool Music – Volume 1 compilation (2004, Fenway Recordings CD). The song was also remade by the I Don't Cares on the Wild Stab album in 2016. That version has lyrics similar to the 2004 version and may contain elements of that recording. It was also demo-ed in the Mono era (see bonus Grandpa Boy discography below).

*** Also performed live in 2007.

Note: Some song titles are guesses that have circulated through fan world. Official song titles were never announced. Track splits were done for convenience; original release was one single MP3 with no track indexes and some of the tracks overlap with each other.

Copyright info (in metadata): Dry Wood Music 2008

Released digitally July 19, 2008 on Amazon Digital and Tunecore. Withdrawn August 1, 2008, apparently due to licensing issues with the cover medley. Currently streaming on Paul's Soundcloud page. CDR promo copies were reportedly distributed. Available on YouTube (minus the cover medley) with 5:05 included at the end.

In a 2016 Spin interview, Westerberg talks about 49:00: 

If I drop dead tomorrow, that’s my masterpiece. I’m so tempted to [make a record like that one] again, but I can’t go through it again. It was absolute insanity and I was so frightened when I made it that people would think I was schizophrenic.

Post about 49:00 on the Teenage Dogs In Trouble blog. 

Fan art for 49:00

5:05 (1 song; 5:05)

Released digitally August 5, 2008 on Tunecore, 3 weeks after the release of 49:00. The 5:05 apparently refers to the "missing" time from 49:00, which clocks in with a running time of 43:55. 

No longer available. Currently streaming on Paul's Soundcloud page. Also available on YouTube. (link dead as of 1/12/25). 5:05 is added to the end of 49:00 here.

3oclockreep (2 songs; 23:32)

• 3oclockreep (audio collage – 1 continuous track) (20:02)

  • 00:00 Tell 'Em All, Go to Hell (2:49)

  • 02:49 Mash of outtakes (0:44)

  • 03:33 It's Ridiculous, Everybody Wants to Be Famous (2:49)

  • 06:22 Only Excuse Is (2:14)

  • 08:36 You're Still Mine (1:03)

  • 09:39 If Only You Were Lonely (0:45) * #

  • 10:24 Studio ramblings (1:56) *

  • 12:20 We Know the Night (2:47) *

  • 15:07 Lowdown Monkey Blues (4:55) *
    * - recorded 1988 with Tom Waits

• Finally Here Once (3:29)

# First appeared as the b-side of The Replacements' first single "I'm In Trouble" in 1981. 

Released digitally Aug 26, 2008 on Amazon Digital. Still available from Amazon for streaming and download. Also available on YouTube.

Bored of Edukation (1 song; 4:46)

Released digitally Sept 13, 2008 on Amazon Digital and Tunecore. Still available from Amazon for streaming and download. Also available on YouTube.

D.G.T. ( 3 songs; 9:33)

• Away in a Manger (2:43)

• Streets of Laredo (3:14)

• D.G.T. (3:43)
  
  

Released digitally Dec 24, 2008 on Amazon Digital. Still available from Amazon for streaming and download. Also available on YouTube: Away in a Manger, Streets of Laredo and D.G.T.

PW & the Ghost Gloves Cat Wing Joy Boys (6 songs; 24:11)

• Ghost on the Canvas (3:41) *

• Drop Them Gloves (3:44)

• Good As the Cat (3:43)

• Love on the Wing (5:28)

• Gimme Little Joy (4:11)

• Dangerous Boys (3:24)

Released digitally Sept 22, 2009 on Amazon Digital and also on CDR (on-demand). Still available from Amazon for streaming & download. CDR no longer available. Also available on YouTube.

* "Ghost on the Canvas" was covered by Glen Campbell and released on his album of the same name in 2011.

Mr. F 45 (2 songs; 5:25)

• This Machine (2:49)

• Foolish Hand Shake (2:36)

Vinyl 45 released Oct 29, 2010 on Nimbit Music. Artist listed as “Mr. F.” Included bonus digital download (see Grandpaboy's Last Stand). Out of print. Available on YouTube: This Machine and Foolish Hand Shake

Grandpaboy's Last Stand (2 songs; 37:47)

• Grandpaboy's Last Stand (audio collage – 1 continuous track) (35:41)

  • 00:00 Getting My MBA

  • 01:57 Doing Me Wrong

  • 03:32 Mystery Train

  • 07:41 Love You in Reverse

  • 10:45 Anybody Looking For God (aka Save Elrod Puce)

  • 16:18 Don't Shoot or I'll Move

  • 20:16 Be My Tennis Shoe

  • 21:54 Mr. Cigarette (take 1)

  • 24:26 Mr. Cigarette (take 2)

  • 28:48 Love You in Reverse (disco version)

  • 32:23 Grandpabboy meets his maker (dialog)
    
    

• Grandpaboy's Last Stand (epilogue) (2:06)

Grandpaboy's Last Stand is a purported audio verite documentation of a Grandpaboy “recording session”. Lots of mayhem and general nonsense in between “songs.”

Released digitally Oct 29, 2010 on Nimbit Music as bonus digital content to the Mr. F (aka Paul Westerberg) “This Machine” b/w “Foolish Hand Shake” 45. Out of print. Available on YouTube.

My Road Now (1 song; 3:32)

Released digitally Sept 21, 2012. Originally available as a free download on the I Will Dare blog. Also available on YouTube

Down at the Heel / One More Try [The Silks] (2 songs; 5:27)

Released on 7 inch vinyl and digital, May 25, 2013 in a limited edition of 300 copies (220 black / 80 white).

Produced by Paul Westerberg. B-side features PW on lead vocals and guitar.

Recorded by Ed Ackerson at Flowers Studio in Minneapolis (note: this is where the 2 new songs - “Message to the Boys” and “Pool & Dive” - released on The Replacements' Don't You Know Who You Think I Was? 2006 compilation were recorded). 

B-side is a Rolling Stones cover written by Jagger/Richards and originally released on the US version of the Out of Their Heads LP in 1965. A-side was also released on The Silks 2013 album Last American Band (CD/LP, self-released) which was produced by PW.

Poke Me In My Cage [The Replacements] (1 song; 24:22)

Released digitally Dec 17, 2014 on The Replacements Soundcloud page. Recorded at Woolly Mammoth Sound in Waltham, MA on October 28, 2014. Engineered by David Minehan, assisted by Matt Jones. Written by Paul Westerberg & Tommy Stinson & Josh Freese. © 2014. Available on YouTube.

Wild Stab [The I Don't Cares] (16 songs)

1. Back (3:52)

2. Wear Me Out Loud (2:41)

3. Born For Me (4:08) [Paul Westerberg version on Suicaine Gratifaction & Come Feel Me Tremble. Performed live in 2002, 2004 and 2005]

4. 1/2 2P (2:44)

5. Sorry For Tomorrow Night (2:41)

6. Dance To The Fight (2:16)

7. Kissing Break (3:18)

8. Just A Phase (3:26)

9. Outta My System (3:40) [Paul Westerberg version on 49:00 - see note]

10. Need The Guys (2:27)

11. Love Out Loud (2:14)

12. King of America (3:29) [Originally an Eventually-era outtake which was released on a promo CDR. Also performed live circa 1996]

13. Little People (1:42)

14. Whole Lotta Nothin' (3:51)

15. Done Done Done (2:18)

16. Hands Together (6:51)

Released on CD and digital Jan 22, 2016. Full length album with Juliana Hatfield on the Dry Wood Music label. Currently out of print.

Dry Wood Garage (12 songs; 38:40)

1. Hawk Ripping at Your Throat (3:58) – released 7/8/17 #
2. Got It Made (3:04) – released 7/15/17 #
3. Feelin' Good (2:44) – released 7/22/17 #
   Note: with Tim O'Reagan (bg vox) & Keely Lane (drums)
4. Dead Sick Of (2:17) – released 7/29/17 #
5. Someday You'll Call My Name (2:58) – released 7/29/17 #
   Note: Hank Williams cover
6. Oompa (3:36) – released 8/5/17 #
7. Come Hither (3:42) – released 8/9/17 #
8. Surrounded by Morons (2:58) – released 8/12/17 * &
9. What the Gym Couldn't Do (2:08) – released 8/29/17 * &
10. Country Boy (4:38) – released 9/3/17 * &
11. Mrs. Beethoven (3:21) – released 9/9/17 * &
12. September (3:16) – released 9/20/17 #
    Note: this song has been performed live at least twice before: Minneapolis Nov 2004 & Boston Sept 2005

* paid downloads

# = originally posted on Soundcloud User 964848511 page; still there as of 1/12/25.
& = originally posted on on the Dry Wood Garage Bandcamp page (still there as of 1/12/25) and the Nimbit Dry Wood Garage page (page active at least through 8/28/20; apparently dead now)

NOTES

At first, these were weekly digital releases – usually on Saturday – on Soundcloud from “User 964848511” and were announced on the Dry Wood Garage website starting 7/8/17. Initially, the songs were available on Soundcloud for streaming with no download option. Then starting with “Surrounded by Morons,” the songs were instead offered on Bandcamp (with artwork images) and Nimbit for paid download. Things moved back to Soundcloud on 9/20/17 for the final DWG song, “September.”

The Dry Wood Garage site initially featured embedded links to the Soundcloud songs. When the switch was made to the Dry Wood Garage Bandcamp page, the DWG site included standard links to those songs under a section called “Stuff For Sale.” The embedded Soundcloud links were listed under a section called “Free Stuff.”

Dry Wood Garage website: https://www.drywoodgarage.com/ (UPDATE: apparently dead as of 8/28/20)

Soundcloud User 964848511 (streaming only): https://soundcloud.com/user-964848511

Nimbit Dry Wood Garage page: http://www.nimbitmusic.com/drywoodgarge (UPDATE: apparently dead as of 2/21/22)

Bandcamp Dry Wood Garage page (streaming and paid downloads): https://drywoodgarage.bandcamp.com/

artwork for 1-12

alternate artwork for 3,7,9

UPDATES

UPDATE 11/16/17

As of Nov 16, 2017 the embed for “Feelin' Good” is no longer on the Dry Wood site but it's still available on the Soundcloud page.

UPDATE 8/28/20

Tracks above marked # are on Soundcloud User 964848511 page.

Tracks above marked & are on the Dry Wood Garage Bandcamp page and the Nimbit page.

The Dry Wood Garage website appears to be dead.

Amazon availability as noted above is still accurate.

UPDATE 2/21/22

The Nimbit Dry Wood Garage page appears to be dead.

UPDATE 5/16/22

All links not marked as dead are verified as still working.

Amazon availability as noted above is still accurate.

UPDATE 8/1/22

All links not marked as dead are verified as still working.

Amazon availability as noted above is still accurate.

UPDATE 1/20/23

All links not marked as dead are verified as still working.

PW & the Ghost Gloves – Cat Wing Joy Boys on demand CDR no longer available.

Amazon availability as noted above is still accurate.

UPDATE 1/12/25

All links not marked as dead are verified as still working.

5:05 YouTube link now dead.

Amazon availability as noted above is still accurate.

BONUS GRANDPA BOY DISCOGRAPHY
variation: Grandpaboy

Grandpa Boy single (2 songs)

• I Want My Money Back (2:19)
  
  
• Undone (2:59)

Released on 7-inch vinyl and CD single in 1997 on Soundproof / Monlyth. Promo CD singles also released. Catalog # 1313.

Credits 

• Artwork - Grandpaboy
• Layout - Bill Expectorate
• Mastered by Tony Dawsey
• Songwriter – Winthrope Marion Purcival V

Grandpa Boy EP (5 songs)

1. Hot Un
2. Ain't Done Much
3. Psychopharmacology
4. Lush and Green
5. Homelesssexual

Released on CD EP in 1997 on Soundproof / Monolyth. Catalog # 1315.

Credits (mostly PW pseudonyms)

• Artwork [All Drawings And Collages] - Grandpaboy
• Bass – Zeke Pine
• Drums – Henry Twiddle
• Guitar, Vocals – Grandpaboy
• Handclaps, Backing Vocals – Elrod Puce
• Mastered By – Bob Ludwig
• Photography By [Photo] – Sen. Jim Dracula
• Recorded By – Rory Gilligan
• Saxophone – Thaddeus Moonbeam
• Songwriter – Winthrope Marion Purcival V
• 
  
• 
  

Mono (11 songs, full length)

1. High Time (3:01)
2. Anything But That (3:13)
3. Let's Not Belong Together (3:51)
4. Silent Film Star (3:26)
5. Knock It Right Out (2:25)
6. 2 Days 'Til Tomorrow (3:27)
7. Eyes Like Sparks (2:32)
8. Footsteps (3:25)
9. Kickin' the Stall (2:56)
10. Between Love & Like (3:21)
11. AAA (3:10)

Released on CD in 2002 on Vagrant (VR368). Promo CDs also released.

Bundled as a bonus disc with Paul Westerberg's Stereo on 2 CD in 2002 on Vagrant (VR368/VR369). A promo CD single of 2 Days 'Til Tomorrow was released in 2002 in Australia/New Zealand.

Stereo / Mono was reissued on 2LP for Record Store Day in 2019 (two songs from Stereo were omitted for the vinyl reissue).

Credits

Backing Vocals, Maracas, Handclaps – Elrod Puce
Bass – Zeke Pine
Design – Joby J Ford
Drums – Henry Twiddle
Guitar, Vocals – Grandpa Boy
Lead Guitar [Superfluous Lead Guitar] - Luther Covington

Dead Man Shake (14 songs, full length)

1. MPLS
2. Do Right In Your Eyes
3. Vampires & Failures
4. No Matter What You Say *
5. Take Out Some Insurance (written by Charles Singleton & Waldense J Hall)
6. Cleaning House
7. Natural Mean Lover (written by Elrod Puce aka PW)
8. Get a Move On
9. Bad Boy Blues
10. Souvenirs (written by John Prine)
11. I'm So Lonesome I Could Cry (written by Hank Williams)
12. O.D. Blues *
13. Dead Man Shake
14. What Kind of Fool Am I? (written by Anthony Newley & Leslie Bricusse)

Released on CD and LP in 2003 on Fat Possum. Catalog # 0377. Promo CDs also released. Tracks with * were released on the CD version only.

Home Demos (bootleg)

1. Outta My System (3:33)
2. Making Me Go (2:59)
3. As Far As I Know (3:02)
4. Diary aka Shopping Bag (4:18)
5. Only Lie Worth Telling (4:18)
6. Let's Not Belong Together (3:30)
7. Let the Bad Times Roll (3:40)
8. Between Love and Like (3:19)

1 released on 49:00
2 released on Come Feel Me Tremble
3 released on Folker
4 unreleased song
5,7 released on Stereo
6,8 released on Mono

Started circulating digitally circa 2002 with distorted audio. Sometimes titled Mono Demos. Some of the songs are close to or identical to the released versions; some are quite different. Audio is available on YouTube

Review: Neil Young solo in St. Louis - 6/28/18. "It was odd. It was endearing. It was mesmerizing."

Back from a perfect road trip to St. Louis. The anchor for this trip was a chance to see Neil Young solo, always a big deal for me. Thanks to a feature on the nifty new Neil Young Archives site, fans were able to get great seats to this current run of 6 solo shows without too much difficulty. Of course an opportunity like this doesn't come cheap. 20 years ago, I would've argued that Neil tickets were underpriced. That is no longer the case. Oddly, many comments I saw from fans who should know better complained not only about the high prices but the difficulty in obtaining good seats. It's not that hard people. Do your homework, plug into the 21st century and you will be rewarded. 

The “Fabulous Fox” lives up to its name in every regard. Built by Fox studios in the 1920s, it once was part of an empire of fancy theaters. The Fox in Detroit is a sister theater to the St. Louis one, both huge (around 4000 seats) and ornate to the extreme. It really is a stunning space. My wife attended several shows at the Fox in Detroit during her time working in the motor city and I was lucky enough to have seen Los Lobos there a few years ago. The St. Louis Fox is very comfortable to navigate and, aside from the merch table, the only bad lines were at the bar right before showtime and the balcony bathrooms after the show (pro tip: no waiting in the basement “Gentlemen's Lounge"). Side note: the venue in St. Louis was in the Central West End neighborhood with ample parking nearby. We parked for free less than a block from the venue at a meter that expired at 7 pm – perfect for a 8pm show. As we scooted to the venue in the rain, we walked by a large parking ramp right around the corner from the Fox. Long lines of cars clogged the street in front of the ramp, which was charging $15. Like I said, use your head and it will pay off.

I hadn't seen Neil solo in a while in person but I have dutifully consumed many audio and video recordings in recent years. After a recent run of festival and last minute full band shows with POTR and the recently reunited Crazy Horse (with Nils), this short batch of solo shows seemed like kind of a weird move, even for a weird dude like Neil. When the show was announced a few months ago, I looked at my extremely busy summer calendar, saw a gap for the St. Louis date and pulled the trigger without giving it much thought.

SPOILER AND NEIL NERD ALERT. The setlist was thrilling from the git go for any Neil fan of even modest fanaticism. My heart skipped a beat when I heard the instantly recognizable chords to the brilliant, underrated Buffalo Springfield tune "On The Way Home" kick off the night. Then, right into "Home Fires," a super deep, obscure track originally slated for the ill-fated Homegrown album and still unreleased. This was only its 15th known performance, dating back over 40 years, and the first since an impromptu performance by Neil on the 1997 HORDE tour during one of those 10 once in a lifetime unannounced afternoon pop up solo Neil sets, performed on a small "workshop stage" several hours before the headlining set with Crazy Horse (seeing one of those sets in Somerset after I had just driven 40 miles like a madman after getting off early from work might be my favorite Neil experience ever). Before 1997, "Home Fires" was performed only at a handful of solo shows in 1992 and at a few CSNY shows on the 74 megatour. Amazingly, this was my 2nd live "Home Fires," since he also played it at one of the Orpheum shows in Mpls in 1992.

And that was only the first setlist bombshell. Even rarer still was "There's a World," the theatrical deep cut from Harvest, originally recorded with Jack Nitzsche and the London Symphony Orchestra. This was only its 9^th known performance. Initially performed 7 times in 1971, "There's A World" had been in the deep freeze for almost 47 years (the longest interval between Neil song performances?) until it shockingly turned up at Neil's fascinating, chatty homecoming show in a tiny venue in Omemee, Ontario in December 2017 that was thankfully webcast.  

I was also thrilled to finally got to hear "Love In Mind" in person, 47 years after its debut performance. Long a fave amongst the cognoscenti, this exquisitely beautiful song is Neil at his best. A delicate solo live performance of "Love In Mind" from 1971 was oddly included on the Time Fades Away album, which consisted mostly of screeching, discordant, decidedly NOT delicate electric live performances from 1973. Go figure. "Love In Mind" debuted on a 1971 solo tour and made a single appearance early in the 1973 Time Fades Away tour (evidently the reason for it's inclusion on the album of the same name). It then disappeared for over 3 decades until being resuscitated for tours in 2008 and 2014.

Also quite unexpected was a solo "Speakin' Out", a song performed less than 3 dozen times, mostly with a full band. This was its 6^th ever solo outing (first since November 1992), performed this time on piano. 

Hearing just one of these kind of these rarities is a gift for dedicated Rusties. To be lucky enough to hear 2 or 3 such performances in the same show - especially at something that you travelled to - is why I've been on the Neil train for 5 decades, traveling far and wide to see him, with a show tally now approaching triple digits. 

11 of the 18 songs came from 3 disparate albums: Harvest, Tonight's the Night and 2010's Le Noise (a consecutive 3 song mini set an hour into the show). The TNT choices were undoubtedly influenced by the recent archival release of the 1973 live Roxy album, a fantastic collection and essential purchase. Neil's playing and singing at the Fox were in typically fine fettle all night. He can't hit as many of the high notes anymore but I noticed he's playing around with some vocal dynamics and phrasing to compensate. The inclusion of "Love and War" in the setlist and Neil's impassioned performance of this profoundly personal song imparted a sense of gravitas to the proceedings, especially at a show taking place during the kind of troubled times that have moved Neil in the past to respond accordingly. I was somewhat indifferent to the song (and album) initially but it hit like a ton of bricks last night, as did all of the Le Noise songs.

Greatly surprising and welcome were 2 blistering solo electric performances, coinciding with the 2 most overt, albeit not inflammatory, moments of addressing politics during the show. "Ohio" was prefaced with a long, moving story of the inspiration for the song and "Angry World" from Le Noise was perfectly apt and topical considering current events and Neil's long history of social and political engagement.

A sweet version of "Tumbleweed" performed on a big uke (which he carried on stage at the beginning of the night, along with a mystery bag; reminded me of a guy going to work) was the only encore, a perfect capper on a life-affirming night in the kind of old theater that Neil loves so much.

Oh yeah, no songs on the pump organ, in spite of a few moves in that direction.

Aside from the setlist, what was truly unusual and unique was his demeanor and chattiness. He did the usual pacing and prowling around the stage common to his solo shows as he goes through the process of deciding the setlist. What was different – and fascinating – was the apparent verbalization of this thought process in real time. He acknowledged this early on, referring to his stage wandering, but, for some reason, he felt compelled to share what he was thinking with the audience. He talked about the instruments on stage time and time again: the 19^th century Steinway with the charred bottom that he bought almost 50 years ago and is now being used on the road for the first time; the white baby grand that was painted psychedelic on the prompting of his daughter; not one, but 2 acoustic guitars that were given to him by Stephen Stills. He addressed his crew directly several times in a low key manner, including one time when he asked for a C harp when the inspiration for a song struck him. After starting the song and blowing into the harp for the first time, he stopped and walked over to a table with a glass of water to “prime” the reeds in new harp. While he was doing this he was talking about “you know how you slap a baby when it's born to get it to breathe? That's what I'm doing here with this harp,” a pretty far out analogy if there ever was one. Then, after restarting the song, he stopped again and asked for a B-flat harp when he realized what key the song was in. He thanked people for the inevitable yelled song requests in between songs (fortunately not as bad as I've experienced before, especially considering so many pregnant pauses during the evening) but admitted “none of them register.” He talked and talked and talked. And then talked some more. This was the most talkative Neil in concert I've ever experienced - by a considerable margin. He joked about how “unprofessional” it was to conduct a show in this scattershot, rambling fashion and even mentioned the high ticket prices. A review in the St. Louis Post-Dispatch succinctly summed it up: "It was odd. It was endearing. It was mesmerizing." Yup.

The only bummer: about 15 minutes into the show I felt sad when I realized that I wouldn't be able to see any of the other shows on this run. After a delightful, way too short 4 days in St. Louis, my Waze app steered me towards the 100% interstate long way route back to MN through central Illinois rather than the usually quicker, more disjointed route through Iowa that we took on the way down. As we approached Rockford on I-39, I saw a sign for the exit to I-90 and Chicago and the next shows at the Auditorium Theater, where I had seen Neil in 1973 with The Santa Monica Flyers and again in 1976 with Crazy Horse. What if we.... it was almost like my traffic app was reading my mind.

Neil Young
Solo performance
June 28, 2018
Fox Theatre – St. Louis, MO


1. On the Way Home (Buffalo Springfield song) (first performance since 10-26-2014)
2. Homefires (15^th known performance; first since 7-29-1997; 2nd since 1992)
3. Love Is a Rose
4. Only Love Can Break Your Heart
5. Mellow My Mind (guitjo) (first performance since 10-9-2014)
6. Ohio (CSNY song) (electric guitar)
7. There's a World (grand piano) (9^th known performance; 2^nd since 1971)
8. Love in Mind (grand piano) (first performance since 10-5-2014
9. Are You Ready for the Country? (upright piano)
10. Tonight's the Night (baby grand piano)
11. Speakin' Out (baby grand piano) (6^th known solo performance; first since 11-18-1992)
12. Angry World (electric guitar)
13. Love and War
14. Peaceful Valley Boulevard
15. Out on the Weekend
16. The Needle and the Damage Done
17. Heart of Gold
    
    Encore
18. Tumbleweed (ukelele) (3^rd known performance)

(photos by Sacred Roots)