The Replacements (band)

The Replacements
Company type	Band
Industry	Music
Founded	1979 in Minneapolis, Minnesota, United States
Founder	Paul Westerberg, Bob Stinson, Tommy Stinson, Chris Mars
Headquarters	Minneapolis, United States
Products	Rock music albums and live performances

The Replacements originated as a rock group from Minneapolis, Minnesota, established in 1979. The principal members consisted of guitarist and vocalist Paul Westerberg, guitarist Bob Stinson, bassist Tommy Stinson, and drummer Chris Mars. After releasing two punk albums, they emerged as trailblazers in the alternative rock genre with acclaimed records such as Let It Be and Tim. In 1986, Bob Stinson was ousted and succeeded by Slim Dunlap on lead guitar; later, in 1990, Steve Foley took over from Mars on drums. Westerberg gradually assumed greater creative control leading up to the band's breakup in 1991, after which the members embarked on individual endeavors. A reunion was declared on October 3, 2012. Fans commonly refer to them as the 'Mats, a shorthand derived from "The Placemats".

Their sound was influenced by rock legends like the Rolling Stones, the Beatles, Faces, and Big Star, alongside punk pioneers including the Ramones, the New York Dolls, and the Sex Pistols. Unlike many contemporaries in the underground scene, the Replacements delivered emotionally candid rock characterized by Westerberg’s unique "raw-throated adolescent howl" combined with introspective lyrics. Their live performances were notoriously unpredictable, often featuring intoxicated appearances and frequent covers instead of their own songs.

Formation and early years (1978–1980)

The inception of The Replacements traces back to Minneapolis in 1978 when nineteen-year-old Bob Stinson gifted his eleven-year-old brother Tommy a bass guitar to keep him engaged. During that same year, Bob met Chris Mars, a high school dropout who initially played guitar but soon transitioned to drums. The trio named themselves "Dogbreath" and performed covers of Aerosmith, Ted Nugent, and Yes without a dedicated singer. Paul Westerberg, working as a janitor for U.S. Senator David Durenberger at the time, came across the band near their residence and joined after an invitation to jam.

Dogbreath auditioned several singers but none suited their style; ultimately, Westerberg took over vocal duties himself. Unlike his bandmates who often indulged in drinking and drug use during rehearsals, Westerberg maintained discipline by arriving well-dressed and pushing for song refinement until they were satisfied.

Initially unfamiliar with punk music, the group embraced early punk influences such as The Clash and The Jam, leading them to change their name from Dogbreath to the Impediments. After a disruptive gig at a church hall in June 1980 resulted in a ban, they adopted the name The Replacements. Mars later explained that this name symbolized their position as substitutes when headlining acts failed to appear.

Demo tape and Twin/Tone Records (1980–1981)

The band recorded a four-track demo in Mars’s basement, which Westerberg handed over to Peter Jesperson in May 1980. Jesperson managed Minneapolis’s punk record shop Oar Folkjokeopus and co-founded Twin/Tone Records alongside Paul Stark and Charley Hallman. Initially, Jesperson received the tape to evaluate booking the band at Jay’s Longhorn Bar where he worked as a DJ. Their first bar gig took place at the Longhorn on July 2, 1980. Jesperson was immediately captivated by the demo, frequently playing "Raised in the City" and describing it as a "magic moment."

The following day Jesperson contacted Westerberg to discuss whether they preferred recording a single or an album. With approval from Stark and the band members, The Replacements signed with Twin/Tone in 1980. Jesperson assumed management duties after their second performance. Although early shows attracted modest audiences, Jesperson’s passion and belief in the band encouraged them through these initial stages.

Following their live debut, Westerberg had composed sufficient material for an album. Recording took place at Blackberry Way, a Minneapolis-based eight-track home studio. Limited studio availability extended the process over six months. Due to financial constraints, Twin/Tone delayed releasing the album until August 1981. Skeptical of the music industry’s practices, The Replacements never formalized their agreement with Twin/Tone through a contract. Before settling on a debut album title, Westerberg contemplated names such as Unsuitable for Airplay and Power Trash.

Initial Releases (1981–1982)

The Replacements' first album, Sorry Ma, Forgot to Take Out the Trash, launched in August 1981, garnered favorable reviews within their local scene. Blake Gumprecht of Option magazine commended Westerberg's compelling songwriting. This debut included their inaugural single, "I'm in Trouble", which is often regarded as Westerberg's breakthrough piece. Additionally, the record contained "Somethin to Dü," a tribute to fellow Minneapolis punk band Hüsker Dü, with whom the Replacements maintained a friendly rivalry, intensified by Twin/Tone Records’ preference for the Replacements over Hüsker Dü.

Hüsker Dü secured an opening gig at a Johnny Thunders concert—a slot the Replacements had also pursued—which influenced the latter’s transition toward a faster, hardcore punk style, despite not fully embracing that subgenre. By late 1981, they recorded "Kids Don't Follow," a track Jesperson believed had commercial potential. He persuaded Twin/Tone co-owners Stark and Hallman to finance its release, leading to a limited pressing of 10,000 hand-stamped copies.

Their debut EP, Stink (June 1982), produced by Jesperson, featured "Kids Don't Follow" alongside seven other songs characterized by intense hardcore punk energy. Following Stink, the band began distancing themselves from hardcore punk. Westerberg concentrated on crafting songs across diverse rock styles, including the acoustic ballad "You're Getting Married One Night," which was initially rejected by other members for not fitting their sound. Westerberg later reflected on the internal struggle of reconciling varied musical tastes within the group.

Hootenanny and Let It Be (1983–1984)

The band's sophomore album, Hootenanny, was recorded in a warehouse in Roseville, Minnesota, with Twin/Tone co-owner Stark serving as engineer. Westerberg’s inconsistent songwriting extended the recording process, while Stark’s perfectionism sometimes frustrated the group. An impromptu jam birthed the title track "Hootenanny," which opens the album. Despite a laid-back approach during sessions, Hootenanny revealed Westerberg's evolving songwriting abilities through songs like "Willpower" and "Within Your Reach," on which he played all instruments himself. The album demonstrated artistic growth from their earlier work and earned critical praise, with airplay on more than two hundred radio stations nationwide. Robert Christgau described it as "the most critically independent album of 1983."

After Hootenanny was released in April 1983, the Replacements began gaining recognition beyond Minneapolis. They embarked on their first nationwide tour in the U.S., accompanied by roadie Bill Sullivan and with Tommy Stinson leaving school to tour full-time. The itinerary included East Coast venues such as City Gardens in Trenton, New Jersey, Maxwell's in Hoboken, New Jersey, culminating at Gerde's Folk City in New York City.

In June 1983, they returned to New York for a CBGB performance that was poorly received; Bob Stinson was removed upon arrival, and their loud style alienated audiences at Folk City. Supporting R.E.M. on an eight-date summer tour further strained band dynamics as they deliberately antagonized audiences but suffered internal tensions.

For their subsequent album, they returned to Blackberry Way Studios late in 1983. Though considering R.E.M.'s Peter Buck as producer, insufficient material led them to have Jesperson and Steve Fjelstad co-produce instead. Moving away from exclusively fast and loud songs, Westerberg aimed for more heartfelt songwriting without concern for punk danceability.

The resulting record incorporated influences from heavy metal, arena rock, and Chicago blues and featured instruments such as piano, twelve-string guitar, and mandolin. Highlights included "I Will Dare," featuring Buck on lead guitar; "Androgynous," with Westerberg on piano; and "Unsatisfied," noted for its emotional lyrics. Released in October 1984, Let It Be received widespread critical acclaim; Christgau awarded it an A+, while critic Bruce Pavitt hailed it as "mature diverse rock" poised to elevate the band's national profile. The album ranked number 12 on Spin magazine's "25 Greatest Albums of All Time" and number 15 on Rolling Stone's list of "100 Greatest Albums of the 1980s."

Early Major Label Period (1985–1988)

By late 1984, Let It Be had attracted interest from major labels; however, financial struggles persisted due to inadequate record sales and insufficient touring revenue. Bob Stinson held a day job as a pizza chef during this period. Twin/Tone faced inconsistent distributor payments, and sales of Let It Be did not justify further promotional efforts. Label co-owner Stark acknowledged it was time for a major label to assume responsibility. Although close to securing a contract, the band frequently alienated label representatives by intentionally poor live shows; their 1985 live album The Shit Hits the Fans exemplified this attitude.

Eventually signing with Sire Records, part of Warner Bros. Records, they admired label head Seymour Stein, who enlisted Tommy Ramone to produce their first major-label release, Tim, issued in October 1985.

During tours throughout 1985 and early 1986 promoting Tim, they made an impromptu appearance on Saturday Night Live on January 18, 1986—replacing The Pointer Sisters. Despite support from musical director G.E. Smith, their intoxicated and profanity-filled performance resulted in producer Lorne Michaels banning them from future appearances (though Westerberg returned solo in 1993). The band performed an off-key "Bastards of Young" followed by a drunken rendition of "Kiss Me on the Bus" while wearing mismatched attire. Smith later revealed that backstage substance use impaired their broadcast performance; Bob Stinson even broke his guitar before going onstage.

On February 4, 1986, they played at Maxwell's in Hoboken, New Jersey, with Sire Records professionally recording the show for potential live album release—material eventually issued over three decades later as the double album For Sale: Live at Maxwell's 1986. The tour ended abruptly in June 1986 after Westerberg injured his finger during a concert at The Ritz in New York City.

In August 1986, escalating creative differences and personal conflicts worsened by Bob Stinson's substance abuse led to his departure from the band. Jesperson was also dismissed that year; he described being ousted from a group he helped establish amid heavy drug and alcohol use. Stinson preferred the band's earlier aggressive style while Westerberg gravitated toward ballads such as "Here Comes a Regular" and "Swingin' Party." The remaining trio recorded Pleased to Meet Me (1987) in Memphis with producer Jim Dickinson. Minneapolis guitarist Slim Dunlap replaced Stinson for touring duties and became an official member.

Don't Tell a Soul and All Shook Down (1989–1990)

Their next project, Don't Tell a Soul, marked a stylistic shift toward more subdued and mainstream sounds. Although this alienated some hardcore fans, it featured standout tracks like "Achin' to Be" and "I'll Be You", which reached number one on the Billboard Modern Rock chart. The band appeared on ABC's International Rock Awards, performing "Talent Show" where Westerberg defied censorship by altering lyrics live on air. They graced the cover of Musician magazine in February 1989 as "the last, best band of the '80s."

Following a difficult tour opening for Tom Petty and the Heartbreakers, Westerberg recorded an album primarily with session musicians but released it under The Replacements’ name: All Shook Down. The record received critical acclaim and broadened mainstream attention; its lead single "Merry Go Round" topped Modern Rock charts once again. However, numerous guest musicians contributed to the album and Mars departed after its release—raising questions regarding the band's future direction. The album earned a nomination for the Grammy Award for Best Alternative Music Album.

Disbandment Period (1991–2011)

Steve Foley replaced Mars on drums in 1990; that year they toured with Elvis Costello, culminating at Madison Square Garden. Their farewell tour extended into summer 1991, concluding July 4 at Taste of Chicago in Grant Park. This final show was broadcast live by Chicago’s WXRT radio station and became known among fans as "It Ain't Over 'Til the Fat Roadie Plays," referencing band members disappearing mid-set.

After disbanding, Bob Stinson performed with various Minneapolis bands before passing away in 1995 at age 35 following prolonged substance abuse struggles. Tommy Stinson formed short-lived bands Bash & Pop and Perfect, later joining Guns N' Roses as bassist from 1998 until 2016; he also released solo albums including Village Gorilla Head (2004) and One Man Mutiny (2011).

Westerberg pursued a solo career through labels like Vagrant Records and under his Grandpaboy alias via Fat Possum Records, returning to melodic lo-fi roots with his 2004 release Folker. Dunlap remained active locally until suffering a debilitating stroke in 2012; he passed away in 2024. Mars turned his focus toward visual arts.

In 1997, Reprise Records released a two-CD compilation titled All for Nothing / Nothing for All, covering tracks from Tim through All Shook Down, including unreleased B-sides.

In 2002 Westerberg hinted at reunion plans hindered by Stinson’s Guns N' Roses commitments. In 2004 the band appeared as fictional ensemble Godflight in Brian Dannelly’s satirical film Saved!.

On June 13, 2006 Rhino Records issued Don't You Know Who I Think I Was?—a compilation spanning Twin/Tone through Sire-Reprise eras plus two new tracks penned by Westerberg with Stinson and Mars; session drummer Josh Freese contributed while Dunlap and Foley did not participate.

Rhino followed up with remastered deluxe editions of four Twin/Tone albums released April 22, 2008; later reissuing four Sire albums September 24 that year. Material recorded with Tom Waits during sessions in 1988 appeared on Westerberg’s solo effort 3oclockreep.

Steve Foley died in 2008 due to an accidental prescription medication overdose.

Reunion Phase (2012–2015)

On October 3, 2012, The Replacements reunited with Westerberg and Tommy Stinson collaborating on an EP of cover songs titled Songs for Slim. A limited run of 250 ten-inch vinyl copies was auctioned online to support former bandmate Dunlap after his stroke.

November that year saw documentary filmmaker Gorman Bechard release Color Me Obsessed, chronicling the band's history through fan perspectives.

After a hiatus of over two decades without live performances,the band played Riot Fest events across Toronto (August 24–25), Chicago (September 13–15), and Denver (September 21–22). Dave Minehan joined on guitar alongside drummer Josh Freese completing this lineup.

Westerberg indicated no firm decisions had been made regarding further tours or new recordings but expressed openness to both possibilities. They performed two sets at April’s Coachella Valley Music and Arts Festival; Green Day frontman Billie Joe Armstrong joined them during their second appearance there. They headlined September’s Boston Calling Music Festival alongside acts like Lorde and The National. On September 9 they appeared on The Tonight Show, performing "Alex Chilton". Additional shows included Forest Hills Stadium September 19; due to heavy rains their September 27 Summer Ends Music Festival appearance in Tempe moved indoors to Marquee Theatre.

On December 17, 2014—a previously unreleased jazz improvisation titled "Poke Me in My Cage" was uploaded via their official SoundCloud account.

February 9, 2015 brought announcement of a spring U.S. tour featuring debut performances of new song “Whole Foods Blues.” Co-manager Darren Hill revealed seven or eight tracks had been recorded toward a prospective new album project though no release followed. Two late-tour concerts were canceled due to health issues. Their first European appearances occurred at Primavera Sound festival dates in Spain and Portugal during May-June before concluding with what Westerberg declared at Porto festival June 5 would be their final show—his stage shirts hinted this decision stating: “I have always loved you. Now I must whore my past.”

In September that year Tommy Stinson reflected about studio efforts saying they “dipped our toe” but “it didn’t feel so good,” repurposing some material for his solo career instead.

Live Performances

Early notoriety stemmed partly from Tommy Stinson’s youthfulness during initial years.Their concerts became increasingly aggressive following the release of the hardcore-tinged EP Stink (1982). With their third album ‘’Hootenanny’’ (1983), notorious drunkenness combined with confrontational stage antics earned them reputations for unpredictable live shows marked by rowdiness.Their frequent intoxication sometimes rendered them unable to perform properly culminating in permanent exclusion from ‘’Saturday Night Live’’ after Westerberg uttered profanity during their televised performance in ’86.

Critics often described their stage presence as erratic—“mouthing profanities,” stumbling about or dropping instruments—but when sober they received praise for energetic performances.Audience members never knew whether shows would be complete or include numerous covers ranging from Bryan Adams’ "Summer of '69'" to Led Zeppelin’s "Black Dog."

Legacy

The Replacements are commemorated with a star on Minneapolis nightclub First Avenue, honoring artists who sell out shows or significantly impact local culture—one of Minneapolis’ highest accolades.Paul Westerberg also holds an individual star recognizing his solo contributions.

Johnny Rzeznik of The Goo Goo Dolls cites Westerberg as an important influence; Goo Goo Dolls supported The Replacements’ final tour and co-wrote "We Are the Normal" with him.Members of bands such as the Cribs, Uncle Tupelo, and Whiskeytown acknowledge The Replacements’ impact.Brian Fallon of Gaslight Anthem credits them as foundational to his band's sound.The indie group Art Brut released “The Replacements” as homage.

In 2006 label1234 Go! Records issued ’’We’ll Inherit the Earth: A Tribute to The Replacements’’, featuring twenty-three covers by various artists.The band received nomination for induction into the Rock & Roll Hall of Fame in 2014 but were not inducted.

Their songs have been featured extensively across films: “Treatment Bound” appeared in ‘’Jackass Number Two’’; “Can’t Hardly Wait” lent its name to—and soundtrack for—the film ‘’Can't Hardly Wait’’; “I Will Dare” featured in ‘’Feeling Minnesota’’ and ‘’Hot Tub Time Machine’’; “I’ll Be You” appeared in ‘’Jerry Maguire’’; “Bastards of Young” opened ‘’Adventureland’’; “Unsatisfied” has been used repeatedly including films ‘’Airheads’’ and ‘’Ordinary World’’. “Within Your Reach” was included in ‘’Say Anything’’, while “Here Comes a Regular” has been heard on TV series such as ‘’Regular Show’’, ‘’One Tree Hill’’, and Netflix’s ‘’13 Reasons Why’’.

In recognition of his detailed liner notes for The Replacements’ expansive box set released in 2019 entitled ’’Dead Man’s Pop,’’ biographer Bob Mehr won a Grammy Award for Best Album Notes in 2021—a celebration marking thirty years since their album ’’Don’t Tell a Soul.’’

Reflecting on their underground status during a recent interview Tommy Stinson remarked:

Our allure partially stemmed from remaining underground... We always believed music itself had to carry us... We likely squandered opportunities because we lacked artistic savvy when encountering them.We pretty much winged our entire career.From beginning to end we were complete misfits unaware otherwise.All you hear is exactly who we were—the good,the bad,and ugly.

Members

Paul Westerberg – vocals,guitar (1979–1991,2006,2012–2015)
Tommy Stinson – bass guitar (1979–1991,2006,2012–2015)
Bob Stinson – guitar (1979–1986; died1995)
Slim Dunlap – guitar (1987–1991; died2024)
Chris Mars – drums (1979–1990)
Steve Foley – drums(1990–1991; died2008)

Touring musicians

Josh Freese – drums(2006,2012–2015)
Dave Minehan – guitar(2012–2015)

Discography

Sorry Ma,Forgot to Take Out the Trash(Twin/Tone)(1981)
Hootenanny(Twin/Tone)(1983)
Let It Be(Twin/Tone)(1984)
Tim(Sire)(1985)
Pleased to Meet Me(Sire)(1987)
Don't Tell a Soul(Sire)(1989)
All Shook Down(Sire)(1990)

External links