By Helen Frank of Sheffield, UK, this stop motion film is the 2nd fan made video to pass the I Don't Cares approval process.
@_HelenMF (Twitter)
Update - March 1:
The original post in February embedded a 1 minute clip. This has now been replaced by the full length video.
This video directed by Max Tullio and submitted to The I Don't Cares for their consideration has been awarded the Westerberg / Hatfield seal of quality.
It is therefore now the first official promo from the album.
The I Don't Cares:
Are you an aspiring film maker? Clever or artistic? Too much time on your hands? Need to make a few bucks to cover rent this month?
Then what are you waiting for?
Paul and Juliana are inviting submissions for fan-made videos for any song on Wild Stab.
If they like them, they'll pay $1 per second.
Full details at paulwesterberg.com.
Here's some links to generally positive reviews for The I Don't Cares Wild Stab album.
Big thanks and credit to contributor-in-chief Carlos Lopez for sourcing these:
Often times, collaborations like this end up being a disappointment, but "Wild Stab" is filled with enough good music to make it worthwhile. Paul Westerberg sounds great. Not as great as he sounded in "14 Songs", but certainly better than he has sounded in recent years. And Juliana Hatfield's contributions are reminiscent of her work with Evan Dando and The Lemonheads. Their voices go well together. does, too; their ragged harmonies are sweet and living - reminding me a bit of Julie and Buddy Miller's - their voices belong together.
Tommy Mac, The Virtual Sink
The album is lean and sexy with a one-take late-night vibe (described as "Donny & Marie with switchblades" in the liner notes) anchoring new rippers like “Wear Me Out Loud,” “ Dance To The Fight” and “Done Done Done.” The rustic cow-punk sound of the Los Angeles band X seems to be an influence here with the male and female voices melding to create one tough vocal.
Andy Derer, Empty Lighthouse Magazine
Wild Stab is a jangly, jaunty, lo-fi sprawl. Its 16 tracks sound slapped together with a healthy coat of Mod Podge, delivered straight from a basement studio. Some songs sound remarkably similar to each other, while others stick out at odd angles. It’s as if fussing over an album would’ve made it seem too much like a “statement”; instead, Wild Stab feels like a couple of pals rockin’ out, having fun, and not worrying too much about the final product. That’s not to say that these songs are anything less than professional — Hatfield and Westerberg are too good to drop any stinkers.
Adam Kivel, Consequence Of Sound
This album has a punk edge to it, but it is informed by a bit of rockabilly soul. This almost plays like Westerberg’s Grandpaboy records with Hatfield’s voice thrown into the mix. “King Of America” is steeped in classic heartland goodness, while “Whole Lotta Nothin’” has an insistent drive. “Dance To The Fight” is one of only songs where Hatfield really gets center-stage, but she works the tough groove well. In the end, this record has an appealing ramshackle sound and showcases both performers well, even if it feels much closer to a Westerberg release than one of Hatfield’s records.
Allan Raible, ABC News
Some songs are good; some songs are great; and there are only a few that probably should have been left as outtakes. There are hooks and riffs and clever turns of phrase; there are bold declarations, and much quieter ones. There is so much to like on the record, and it’s tremendously accessible and listenable.
Caryn Rose, Salon
For my money, I much preferred Juliana Hatfield’s 2013 collaboration with Nada Surf’s Matthew Caws. The album is called “Get There,” and they recorded under the moniker Minor Alps. It is one of those albums that flew under the radar, and it should be given consideration by any indie music lover.
In no way do I want to make it sound like I do not like the “Wild Stab” release by the I Don’t Cares. I think it is a fine album. However, given the background of the two players involved, I was hoping for something a little more magical. What I got was a fun album to listen to by two of my favorite icons.
Jeffrey Pederson, SC Times
Every song is solid, with a couple of standouts in “Outta My System” a Replacement-ish tune, and “Dance to the Fight” where Hatfield jumps into the fray in fine style on a number that could have been played in any fraternity house, at any time, back in the day.
Hatfield’s contributions are hard to pin down, but they aren’t slight. Her lead vocal turn on “Dance to the Fight” is a natural for her voice. And her backing and duet vocals throughout the record are actually a great pairing for Westerberg. So much of this record sounds like the type of guitar play that has been typical of recent Westerberg albums that it’s hard to know exactly where Hatfield fits in – she does that good a job of fitting into the overall sound of the album. I can only imagine that they’d be endlessly amusing and fun to see perform live.
Opening tunes "Back" and "Wear Me Out Loud" are old Replacements outtakes that gracefully channel the Minneapolis singer's Don't Tell a Soul-era pop craftsmanship. Elsewhere, the duo tackle gentle alt-country ("½ 2 P," "Sorry for Tomorrow Night"), melodic power-pop ("Need the Guys," "King of America"), and indignant, rockabilly-tinged punk ("Love Out Loud," "Done Done Done"). Hatfield is front and center on several tunes, dueting with Westerberg on soft-spoken ballads ("Kissing Break," "Just a Phase") and taking the occasional lead. Most often, though, she sticks to the background, providing sweet harmony vocals and lead guitar throughout.
Jonathan Bernstein, Rolling Stone
Wild Stab Track by Track Review - Rock and Roll Geek Show (Podcast)
Whatever, My Love - the 2nd (or sophomore as those funny Americans like call it) album by The Juliana Hatfield Three from 2015 is being reissued on vinyl via a 2nd (sophomore) pressing.
Availability is estimated for August, 2016.
Fans of the long player who missed out first time round can now pre-order at American Laundromat, or via Cargo Records in the UK.
Two Blake Babies in discussion earlier this week in Nashville to promote Freda's recipe book / rock memoir.
The talk focuses on their love of food, touching on their respective lives in and out of the music industry.
A wide ranging interview with Paul Westerberg by Peter Wolf for Vanyaland covering the background to The I Don't Cares record with Juliana.
See the article at Vanyaland, and as mentioned on YouTube - the highlights:
3:25: How did the collaboration come about?
8:37: Bringing Sammy Davis Jr. alive
12:54: Dissecting I Don’t Cares songs, and writing for Juliana Hatfield
16:35: Let the music do the talking
19:22: “There’s a certain mystery that sits with this [LP]”
23:27: Songs from Paul Westerberg’s basement
28:00: How old Replacements demos became I Don’t Cares songs
31:38: Westerberg’s first record bought, first concert attended
35:45: Westerberg’s first guitars, and when music started paying the rent
40:03: Coming off the Replacements’ reunion tour
47:10: Singers in the band are the craziest
50:26: Let’s get a refill
51:00: “We teased ourselves… we’re not making a record”
53:35: Life after the Replacements reunion
56:30: Where is Juliana?
59:56: Taking the I Don’t Cares on the road
New album day!
Wild Stab is out now for download and streaming in most territories. There's a CD version available for order in the usual places too.
This is the debut album by The I Don't Cares - Juliana's collaboration with Paul Westerberg of the Replacements.
The Current has a brief review including this passage:
A lot of that contentedness seems to be the result of his new partnership with Juliana Hatfield, who makes up the other half of his new project the I Don’t Cares. Many of the songs on their new album, Wild Stab, could be classified as love songs, with titles like “Kissing Break,” Hands Together,” and “Love Out Loud.” And try as they might to prove to the listener that they didn’t put much thought into this project — the vibe is muddy and slapdash, and much of it sounds like it was pieced together from ramshackle of basement recordings — it’s pretty clear that Westerberg and Hatfield do care about this project, perhaps more than they’ve cared about any of their endeavors in quite some time.
More article and review links to follow when and if they appear.
There's been almost no promotion for this release, which is a little odd given Paul's cult status in indieland.
His fans on the Men Without Ties forum are approving on first listen. No surprise there, as it feels like there's more Westerberg on here than Hatfield, certainly on the vocal mix and guitar themes.
If you're hoping for a sharing of styles in the manner of the Dando / Hatfield shows or the Minor Alps project you might want to readjust your expectations!
There's still a lot to enjoy about this record.
— Freda Love Smith (@fredalovesmith) January 9, 2016
A photo of Freda, Juliana and Peter Wolf taken at last Friday's promotion event for Freda's book, via Twitter.
There's another photo at The Boston Globe.
From last week in Chicago, Freda & Robbie Fulks playing a Blake Babies track. There's more from the show at hmc1410's YouTube page.
Also, from earlier this month here's a brief WCIU-TV interview with Freda as part of her book promotion:
thanks to Carlos for the info here
The Harvard Book Store in Cambridge, MA has announced an event for January 8, 2016:
Harvard Book Store welcomes Freda Love Smith and her former Blake Babies bandmate, local singer-songwriter Juliana Hatfield for a presentation of Smith's book Red Velvet Underground: A Rock Memoir, with Recipes.
The event is free. More info at harvard.com.
Speaking of Freda, there's a new Mysteries Of Life EP titled Bad Advice out now at Bandcamp.
The I Don't Cares (the new band featuring Juliana and The Replacements' Paul Westerberg) have released a new single.
Featuring Westerberg on lead vocal, King Of America is the 2nd track to be revealed from their forthcoming debut album Wild Stab.
So far it's only available from iTunes. (US and UK links).
Also, Amazon (US and UK)
The tracklist:
The artwork:
Juliana is selling "small number of customized (ink-embellished) Polaroid self portraits onto canvas" via her website.
There are 12 designs to choose from, available for $100 USD each including postage.
Check them out at Juliana's official site.
Brad Walsh:
My strongest songwriting influences have always been female, and I was lucky enough to be able to work on this EP with some of the artists I idolized growing up. To be able to guide a rock legend like Juliana Hatfield into the realm of dance music, to have her hear what was done and respond with marvel, was a dream come true for me.
The PopCrush post also has a quote from Juliana about 'Easy'.
There's a new band in town.
They're called The I Don't Cares.
Juliana Hatfield is in it.
Paul Westerberg is in it.
There's a single.
It's called 1/2 2 P.
You can buy it at Nimbit Music.
You can buy it at iTunes or stream on Apple Music in the US & UK and no doubt elsewhere.
It's on Spotify.
It's on Rdio.
It's from an album called Wild Stab.
Wild Stab is "coming soon".
There you go.
A photo posted by Brad Walsh (@bradwalsh) on
New!* Coming next month!**
Juliana features on a track titled Easy, which she has co-written with Brad. The lyrics are on Brad's site.
*As pointed out on the This Is The Sound Group, the words are a combination of lines from Don't Wanna Dance and Candy Wrappers, the former having been previously remixed by Walsh in 2011. So, sort of New!
** Update November 4, 2015 - the EP is now available on all major download / streaming services (in the UK at least - it's out in the US tomorrow - November 5). You can also hear it at SoundCloud.
NT: Many present day bands list Blake Babies as an influence and have even name dropped the band in interviews . For example, Bully comes to mind recently. How does that feel for you all and to what do you attribute your lasting sonic legacy?
Strohm: I’ve met the people in Bully before – they are a local band here in Nashville – and they’ve given me no indication that they know our band! But I do hear an influence, whether it’s direct or they are mining similar influences as us. I’ve seen the references in the press. When young bands or music writers acknowledge us as influential, that feels amazing. That’s the best thing, really. We felt at the time that a big reason we were toughing it out – and it was very hard to do this band for a lot of reasons – was to build some sort of musical legacy that could become more important over time. We didn’t necessarily expect it to happen, but I think we really hoped it would. Now that we’ve built our lives in other directions it matters less than I would have expected, but it’s still very satisfying. I can only really speak for myself, but I’m such a geek music fan that it just blows my mind to think that something we did as kids decades ago actually has a life and continuing influence today. The very best thing that could happen is to inspire young people to want to make music, or to influence the music they make. That sort of thing really validates the whole experience, and everything we put into it.
Smith: I’m proud of the initiative we took in the early days of our career. How when nobody would sign us, we put out our own record. Also, how we worked hard and worked together because we cared so much about what we were doing.
Hatfield: I am just glad no one got killed, that we didn’t kill each other, or kill ourselves.
Also of note at NoiseTrade there's vintage audio of a 1989 Blake Babies studio session for WERS.
