It's not easy watching your hero fail. After listening to Paul Westerberg's new album, Eventually, I can understand how fans of John Lennon, Paul McCartney and Bob Dylan must have felt upon hearing their first mediocre albums. It may be presumptuous of me to put Westerberg in such elite company, but for many, including myself, Westerberg's former band, the Replacements, was as influential in the 1980s as the Beatles and Stones were in the 1960s. Three of their albums, Let It Be, Tim, and Pleased to Meet Me, are considered among the finest released in the previous decade and it was Westerberg's terrific songwriting that made these albums so good. The albums were full of great pop songs, encompassing anthems like "Bastards of the Young" and gutwrenching ballads, like "Here Comes a Regular" both from 1986's Tim. The Replacements had great songs, one hell of an attitude, and a sense of humor, everything except for a hit. Their lack of success led to their break up in 1991 following the tour for their last album All Shook Down.
Westerberg released his first solo album 14 Songs in 1993 to mixed reviews. That album suffered from the same problem that his latest release, Eventually, suffers from: several good songs surrounded by too much filler. Eventually is a much more subdued album than any of the Replacements efforts; this is not a bad thing and provides evidence that Westerberg is attempting to mature gracefully. The person who once boasted about crashing parties that he wasn't invited to now boasts about staying home every night of the week. This may be good for Westerberg, who appeared on the verge at times of succumbing to the falling off the barstool and stage excesses of the Replacements, but too often he makes it sound just plain boring. Occasionally, Westerberg is successful at writing good songs about his newfound domesticity. The album's opener, "These Are the Days," an ode to self-reflection, and "Once Around the Weekend" are pleasant enough without being boring. "Good Day," which is inspired by the Replacements' first lead guitarist, Bob Stinson, who died in February 1995, is an effective ballad. "MammyDaddyDid" is another pleasant mid-tempo number and is Westerberg's assertion that he won't raise his children the way his parents raised him. Speaking from experience, that's easier said than done and Westerberg may find himself having to eat his lyric sheet if he ever becomes a dad. "Hide 'n Seekin'" is a worthwhile ballad with ominous undertones. "Century" which borrows part of Sweet's "Ballroom Blitz" in the verse is an enjoyable rocker.
Unfortunately, things go downhill from there. "Trumpet Clip" is notable only for the appearance of Replacements' bassist Tommy Stinson and for its hint of Westerberg's sense of humor, last officially sighted on "I Don't Know," from 1987's Pleased to Meet Me. "Love Untold" sounds pretty, but features lyrics so generic it begs to ask if Westerberg found them on a greeting card. "You've Had It With You" isn't a bad rocker, but is annoying to anyone who's heard "Down Love" from Westerberg's first solo album, because it is a direct rip-off of that song. From there, the rest of the album is so slight that nothing sticks out even after repeated listens.
Eventually isn't a complete failure, but compared to the quality of his previous work, it is a letdown. Westerberg may be reaching for a more mature sound and subject matter, but that doesn't mean he has to be boring - for proof, he might want to check out John Hiatt or Neil Young. It sounds like Westerberg is still struggling with the transition from a confused 20 year old to a mature 35 year old. Here's hoping he finds the mark with the next album. I don't know how many more times I can watch him stumble.
