John P Strohm : Here’s What It Was Like To Make Music Before the Losers Won | The Talkhouse Music

John P Strohm writing on the early Blake Babies days at The Talkhouse:

So when I moved to Boston to attend Berklee College of Music in the fall of 1985, I’d had a tiny taste of success in music, and that gave me some ambition — if not for school, at least for making a band. My girlfriend Freda moved out a few months into my first year, and together we very actively pursued our goals. Freda generously gives me credit in her recent Talkhouse piece for being the one with the confidence and relative musical expertise, but as ambitious as I may have been, Freda had the bigger vision. I wanted to crack the local scene and impress the local venues; Freda wanted to be up there with our heroes — even if our heroes (such as the Replacements and the Minutemen) were probably still touring in vans and crashing with friends and parents between tours. As proof of this, I will note that our famous first meeting with Juliana Hatfield — who we approached cold in the Berklee dorms to ask her to join our non-existent band — was all Freda’s idea. And she did all the talking. Neither of us thought of ourselves as potential stars — so we needed to find one. Freda spotted Juliana just as Juliana spotted us, and there was no question in any of our minds that we should make a band.

Craig ScrogieComment
Video - Blake Babies - Rain (Live 1988)
Blake Babies "Rain (live)" Nightstage; Cambridge, MA 1988

How does that Bob Dylan lyric go? "Ah, but I was so much older then. ....." Here is "Rain (live 1988)"- part of the Exclusive DVD in our Earwig Demo Vinyl Bundle-> http://bit.ly/BlakesVinylDVD

Posted by the Blake Babies on Tuesday, 15 March 2016

Via the Blake Babies Facebook account, a video of Rain from Cambridge, MA in 1988.

The clip is taken from a DVD available as part of an exclusive bundle in the Earwig Demos PledgeMusic project.

Freda Love Smith : How Is a Song Like a Time Machine? | The Talkhouse Music

Freda Love Smith, writing for The Talkhouse about the Blake Babies Earwig demos:

But if we were glued together by John, we were utterly defined by the sound of Juliana’s vocals. Listening to her young talent hits me all the harder for the years. I didn’t fully recognize this back then, but now I hear the intensity of a twenty-year-old singer and songwriter who had been waiting and waiting, often despairingly, often impatiently, for the stars to align, for an opportunity to do the thing she was born to do. And here’s that moment! She has a band, a producer, a studio and a crack engineer, and after all those years of singing in her bedroom, she takes the microphone and she nails it. She throws down harmonies and they are amazing. She is the real deal.

The article also has a premiere of the Take Me demo (originally titled Take Me, Take Me) from the project.

A reminder that the demos collection is the main item in an ongoing PledgeMusic campaign.

Paul Westerberg: Throwing Out the Past | SPIN

Drew Fortune, interviewing Paul Westerberg for Spin:

My next question follows naturally. “Do you wish you were more popular?” Paul pauses in consideration. “No,” he says definitively. “I say that and I’m still a human being. The I Don’t Cares record charted at No. 150 and the next day it dropped. I’m trying to be cool and think it doesn’t matter. Then I spend the day kicking s//t. Any time I put something out I’m afraid and I want people to like it. This record was not meant to sell.”

The interview (which was originally planned to include Juliana and drummer Josh Freese) confirms what has been hinted at in Instagram posts and Westerberg's site - The I Don't Cares are working on new music beyond the recent Wild Stab album.

Trouble Boys - The True Story Of The Replacements

For those of us interested in the work of Paul Westerberg through Juliana's current collaboration and long term fandom, today sees the publication of a new book on The Replacements by Bob Mehr.

Da Capo Press:

Based on all-new interviews and including 72 rare photos, Trouble Boys: The True Story of The Replacements is the definitive biography of one of the last great rock 'n' roll bands of the twentieth century. Written with the participation of the group's key members, including reclusive singer-songwriter Paul Westerberg, bassist Tommy Stinson, and the family of late guitarist Bob Stinson, Trouble Boys is a deeply intimate and nuanced portrait, exposing the primal factors and forces—addiction, abuse, fear—that would shape one of the most brilliant and notoriously self-destructive groups of all time.

Based on a decade of research and reporting, hundreds of interviews (with family, friends, managers, producers, and musical colleagues), as well as full access to the Replacements' archives at Twin/Tone and Warner Bros. Records, author Bob Mehr has fashioned something far more compelling than a conventional band bio.

You can read an excerpt at Rolling Stone.

For ordering info and other background to the book, there's an official site:

replacementsbook.com

Blake Babies Launch Earwig Demos Project at PledgeMusic

Blake Babies have launched their PledgeMusic project today!

John, Freda & Juliana:

In early March of 1988, we entered Fort Apache Studios in Cambridge, MA to capture our live set in a studio setting. We recorded 12 demos of songs for what would become our debut full length on Mammoth, Earwig. The master tapes from those sessions have been sitting on a few basement shelves since then and pretty much were forgotten about.

In 2015, we rescued the recordings and had the tapes remixed and remastered. And to our surprise, the demos turned out sounding better than anyone remembered.

They sounded so good that we had to do something special with them for you, the fans! We’re happy to announce that the Earwig Demos will finally be heard as intended, on vinyl ONLY here on PledgeMusic. While in our archives, we found some other unique and rare items to add to the pre-order. We hope you find something you will like.

There are vinyl, FLAC and MP3 ordering options plus other PledgeMusic exclusives.

3 private reunion shows are planned in the US - 2 in Boston, MA (on the same day) and 1 in Evanston, IL. Tickets for these limited shows are available (via PledgeMusic). Other than the possiblity of up to 3 extra acoustic house concerts available for $20,000 (!) each, the band "do not have any touring plans".

Exciting!

pledgemusic.com/projects/blakebabies

Wild Stab - Review Links

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.

The Falcon's Nest

 

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.

Aquarium Drunkard

 

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)