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JULIANA HATFIELD, best known as (a) Evan Dando's sometime girlfriend (b) bassist on the best Lemonheads' album (c) former Blake Baby (d) anorexic (e) the woman who's earned the questionable accolade 'arch-babe' and (f) coolest of the collection of female musicians dubbed the 'new neurotics', is back! It may be due to the fact that she's found the right musicians - Dean Fisher on bass and Todd Philips on drums, along with assistance from the d Bs' Peter Holsapple on keyboards - but she's become adept at writing slacker songs just as sweet, as dumb and as rocking as the Lemonheads.
There’s also an image inside the CD of the two holding hands that mirrors the two guitars on the front cover.Westerberg insists in the Vanyaland interview that his guideline for the production was that he was looking for the goosebump moment, and the songs still do deliver because they’re good songs--but they could absolutely sound just a little better without losing the roughness and immediacy of the production.“Done Done Done” should have been cut, cut, cut, but it’s there as insulation, to stop people from getting to the end of the record, because it’s on the 16th track where Westerberg takes a deep breath and digs deep to tell listeners what the record is all about: “Hands Together.” It’s a vivid, intense, daydream of a lyric as abstract as it is heart-rending, backed by a shimmering melody.“Wild Stab” is a very warm-sounding record--the production is deliberately rough, and the guitars and vocals have great tone.But in the background, accompanying every track, is a drum machine.He even manages to get in one or two of those great Westerbergian turns of phrase, “Dinner with a cup of coffee that likes to be called a mug” or “The newspaper gets older every minute.” It’s stream-of-consciousness with a purpose, it’s giving away his secrets, telling his truths, it’s breathtaking and uncomfortable and he knows it.This is another track that Westerberg tells Wolf would have been lost, except for Hatfield’s skill in digging through the reject pile and pulling it out.Once you know that Paul Westerberg is attached to this particular concern, the attitude of the monicker starts to make more sense in some fashion. There are some tremendously vulnerable moments, such as “Kissing Break,” a beautiful acoustic duet, or “Born for Me,” which Westerberg already tried on his 1999 release "Suicaine Gratifaction." It’s moments like those, as well as Westerberg’s Phil Lynott tribute “Need the Guys,” that, combined, set a more Johnny-and-June tone for the album than Westerberg’s usual loner-in-a-basement vibe.It sounds like a love story, and once they both open that door musically, it’s hard to not remember that Hatfield dedicated a chapter of her 2008 memoir to Westerberg.The record is also sequenced well, and deliberately (which Westerberg also confirms in the conversation with Wolf) but the most artful sequence is in the final run, beginning with track 12, “King of America.” This is the section of the record where “Wild Stab” shifts from enjoyable to essential.Westerberg has never been overtly political, outside of the oblique and likely unintentional messages in songs like “Fuck School” or “Customer,” but this all changes with “King of America.” The message is wrapped in robust, rippling instrumentation, but the lyrics are bitter and direct: It’s one of the most profound, astonishing lyrics he’s released, and even more so when you remember that he was working as a janitor when he discovered the Stinson brothers and Chris Mars rehearsing in the basement of the Stinson house.