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Grab a piece of MN Music History!!! The Long “Lost” Twin/Tone record FINGERPRINTS “WHERE THE BEAT GOES ON” Is now available on Blackberry Way. 24 tracks from 1977-1979 remixed by Michael Owens @ Blackberry Way & Mastered by Andy Walter @ Abbey Road. Two albums worth of music!!

The rhythm section drove the band like a freight train; and the virtuosic guitar playing made for audio spectacles galore in every live show. Now, twenty-four songs have been restored, completed and mixed – the ‘lost’ Fingerprints album, a vintage feast for the ears that is well worth the wait. Peter Jesperson-Twin/Tone Records co-founder/A&R 

I really loved Fingerprints. They were such an under-appreciated band. They had a rockin’ feel. Their live shows were incredible with the lead singer doing backflips during the show. David Pirner-Soul Asylum  

Mark Thrones “Now I Wanna Be A Space Girl” is some kind of interrestial hemophilia. Mike Owens contributes “I’m Wasted On You” a fevered look into the edge of time.  New York Rocker 

Fingerprints, the hard working tough sounding quintet, produces a sound that links the rabid, relentless hard rock of the late ‘60s with the more esoteric British cult bands of the mid ‘70s. These styles are still viable, especially when the link produces a song such as “I’m Wasted On You,” a gem of a rock ‘n’ roll tune and perhaps the best single song on all of these records. (Review of the first 3 Twin/Tone releases The Suburbs, Curtiss A’s Spooks & Fingerprints)     Tim Carr- Minneapolis Star Tribune 

An unusual voice, lyrical instrumentation (a guitar band in the real sense of the term) within a rock format…technical excellence…with feeling.  TROUSER PRESS 

Fingerprints, my expert-friends choice as “one of most commercially viable local rock bands,” opened each show, for Blondie, with a short set of straightaway rock, keyed by the leap-and-prance eyeball rolling routine lead singer Mark Throne did in white ballet slippers. Twin Cities Reader 

Twin/Tone night @ The Walker Art Center: Fingerprints present a more complete picture of rock ‘n’ roll than the other bands. Fingerprints opened with a deadly new original called “Uptown” and lead singer Mark Throne immediately took command of at least half the stage and the first few rows as well. Throne is simply the most exciting person fronting a Mpls band right now, and his vocal ability is staggering. Mike Owens (best dressed Twin Toner that evening) remained the pluperfect rhythm guitarist; Jeff Waryan’s technically unimpeachable lead guitar gave yin to Owens yang. The band is very polished, but Fingerprints main asset is their original songs. This band has at least an album worth of top notch material and could easily play two sets of originals. “Illusions Of Love” and “Uptown” are among their best efforts. 

Stefan Hammond-Arts & Entertainment Minnesota Daily 

Fingerprints is worth following- to a soft drink club, to a laundromat-to hear the singer. His voice ranges from manic to soothing in four bars. My fave rave, “Down “shows Fingerprints at their rocking best, skin tight and 

snappy as a wad of gum. Leslie Fugate-Twin Cities Reader 

The Suburbs & Fingerprints both owe an obvious debt to the early days of British Punk…worth investigating

Bob Edmands- New Musical Express UK

With an instrumental attack that recalls Beefhart’s more straightforward efforts. Fingerprints show promise especially on “I’m Wasted On You” Bo Clifford-Slash Magazine LA

64th Grammy Awards Nomination Ballots.

Independent No. 1's Vol 11

Blackberry Way is proud to be a part of WOA Records (India/UK) Independent No. 1’s Vol 11. The track 60 Cycle Rumble from Michael Owens latest release The Right Kind Of Crazy is one of the songs on this latest compilation from WOA. The previous Independent No. 1's Vol 10 Hit #1 on the Amazon Hot Release Charts & ITunes UK Top 20. The WOA Entertainment Group was founded by Multiple Billboard Top 10 Artist/Producer & MTV EMA Nominee Oliver Sean.


Recent Past & Current Future News from Blackberry Way Records. 

Rolling Stone Magazine’s Kory Grow reviews the recently released deluxe box set of The Replacements PLEASED TO MEET ME on Rhino/Warner Brothers: “The most interesting stuff here is in the Blackberry Way Demos” engineered by Michael Owens & Michael McKern. 

The April Fools are in the process of recording the follow up to their critically acclaimed album “Third” and welcome bassist Nick Salisbury into the fold. In the past few years, Nick has been busy touring nationally & internationally with the likes of academy award winner Ryan Bingham & former Gaslight Anthem front man Brian Fallon. Murry Hammond of Old 97’s fame also contributed bass to one track. 

Swing Set’s track “Blackout” is approaching 120,000 streams on Spotify. The track appears in three TV shows including Stranger Things &The OA on Netflix as well as Red Oaks on Amazon. The track is featured on Mini Hits Of Mpls Vol 2 that includes 20 tracks from seven critically acclaimed Minneapolis bands from the 1980's. 

Michael Owens “The Right Kind Of Crazy” continues to garner rave reviews & airplay around the world. The album is closing in on 5,000 monthly streams & 1600 Followers on Spotify. The video “Hole In Your Pocket” has accumulated over 27,000 views. The track 60 Cycle Rumble will appear on the soon to be released Independent No. 1’s Vol 11 compilation album on WOA records UK/India. The previous Independent No. 1's Vol 10 Hit #1 on the Amazon Hot Release Charts & ITunes UK Top 20. The WOA Entertainment Group was founded by Multiple Billboard Top 10 Artist/Producer & MTV EMA Nominee Oliver Sean. 

COMING SOON!!!! In 1978 Twin/Tone records started the now famous record label by signing three bands: Fingerprints, The Suburbs & Curtiss A’s Spooks. The first releases where the infamous EP’s known as The Little Red Records by the three bands & released simultaneously. Fingerprints also released a couple of singles & contributed two tracks to Big Hits Of Mid America Vol 3 that now resides in The Rock & Roll Hall Of Fame. Fingerprints was to release an album in late 1979 but the band broke up & the record was never mixed. The good news is the “lost Twin/Tone album” will finally see the light of day. The record will feature 24 songs most of which have never been released as well as fresh mixes of the Twin/Tone releases. Restored & Mixed by Michael Owens @ Blackberry Way & Mastered by Andy Walter @ Abbey Road UK.



by: Markus Ganzherrlich

The second album from Minnesota's veteran Michael E. Owens is a real gem that seriously shouldn't pass unnoticed. 15 tracks, of which the last one is a live bonus cut from Owens' reunited band Fingerprints, have been released on his own label and self-produced and engineered in his own Blackberry Way studio divinely: it often happens that the drum machine that he used on this record sounds so warm to have you believe there's really a person behind the drum kit. As to the rest, he sings and plays almost all the remaining instruments besides a few guest vocalists and musicians.
The production turns out to be crystal-clear and powerful, whereas the mixing work remains in movement between L, C and R within each of the 14 studio tracks, which contributes to the composition fluidity during the 63 minutes (including the bonus from the documentary "Jay's Longhorn"). Lastly, the mastering was performed by winning Andy Walter at the world's most popular studio, Abbey Road in London, UK.

The CD is held inside an elegant slim cardboard digipack. We immediately notice from the front cover artwork depicting Mr. Owens playing his favourite guitar what music genre we're about to deal with. The artwork style is a tribute to Andy Warhol's Pop Art in general. To the right of Mr. Owens' picture are his name and the album title written in simple and clear letters, which is another good coupling to the music and the sounds you'll find here. More specifically, he was photographed during a performance and this is clearly visible from the spot light falling on his face from above; later the photo was divided into 4 unequal parts, of which the one on the left up was effected as in a negative film, while the colours of the other 3 portions were staunchly manipulated.
On the rear the song titles were placed on a background made of blue fabrics, whilst the inner digipack contains a panoramic photo split in two depicting the studio room with all of the instruments utilized for the recording of this lot of tracks. The notes inform us that all songs were composed by Mr. Owens and report all of the guest musicians' names track by track. Finally, the disc itself shows the same photo present on the front cover of the digipack in its original form, that is without any retouches.

The wonderful lyrics cover different situations and feelings, such as a creepy guy, the touching story about the meeting of one's soulmate, soldiers at war, a scary old man, someone rich at the center of the attention, a girl falling in love, someone who's being denied access to heaven, someone very happy, someone else who can't forget their ex, dreams, etc.

The catchy piano-based opener "Comic Book Creep" perfectly reminds us of a saloon where Rock and Blues are usually being played in front of customers in love with George Strait; there are a fiery guitar solo from guest artist Curtiss A and Owens himself, brief horns interventions, some lively drumming, and female B52-influenced backing vocals, too. We have to notice that despite the age, Owens' voice sounds way younger and this is even more audible in the following "A Song for You", where the lead and the back-up vocals sound incredibly arranged and executed, while piano and bass stand out in other spots of this agreeable, classy and classic ballad. A guitar solo using the slide technique is the final ingredient of this first highlight of the platter.
Spicy Punk Rock enriched by organ lines and cheeky psychedelic guitarwork mixing The Monkees, The Ramones, The Beastie Boys, The Doors together with a personal touch seem to be the main characteristics of "60 Cycle Rumble".
The very organ played by Glenn Manske, an important pawn in Owens' come-back, reappears in "Used Blues"; just like the title hints, we're before a kind of Blues Rock where organ and hoarse, yet delicate Bluesy vocals take the main stage embueing it with sadness; all of that gets supported by precise repeated guitar licks and fat, loud drums similar to the ones you can hear during a live show. The piece is embellished by a gentle, soulful, long guitar solo by Fingerprints' bandmate Robb Henry and female vocals in the vein of legendary actress and singer Marianne Faithfull's. The only tiny fault are 2 couples of clippings at the end of the song due to the excessive volume of the kick-drums.
"Without Sin" is a dreamy, lengthy composition which distinguishes itself thanks to piano touches and a memorable refrain consisting in a vocal duet. Of course it would have been impossible not to have completed this track with a guitar solo: well, the reality is that we have even two, the former more skillful, the latter more focussed on nuances and heartfelt is faded out like it occurs to every song available on Owens' sophomore record.
If you're fond of sweet nursery-rhymes, you'd better start by playing "Old Man Joad" right now; being Country Rock at its finest blent with The Byrds' and Soul Asylum's vibes, for sure it would have sold millions of copies in the eighties if it had been dropped as a single back then.
Introduced and concluded by faling rain drops, "Chase the Rain" is the only song seeing Robert Longhorst behind the mike, chosen because he can reach higher octaves. Between Oasis and the latest The Stone Roses, the composition contains two guitar solos enjoying a more refined edge.
The tom-toms and a few soft piano touches are protagonists of "Falling", a Pop Rock song with shy echoes and sunny arrangements. Once again the guitarwork does a slow-burn until it's able to enlighten the whole piece and make it less repetitive.

Light-hearted, short and faster, "Over the Moon" revs up and makes you move your foot, especially when it sets a Honky Tonk guitar solo in a frame.
Bar piano sounds along with Hammond sounds rule "Just Got over Being Hungover"; this song has a lazy, drunken pace, a pair of melancholic passages and a pair of penetrating Bluesy axe solos, still mixed low.
Frantic, nervous and not long at all, "You Can't Get in" brings in some modern elements to the pack of music so far delivered due to reverberated vocals and delayed slided guitar sounds that were hard panned to one channel.
Another lullaby with Hawaiian effects, angelic additional female vocals, winding bass lines, is "High Price Shoes". In the middle and at the end two ZZ Top-inspired guitar solos and Deep Purplesque organ lines elevate the piece by making it simply irresistible.
Bluesy licks, raucous vocals, smooth drumming fill the majority of "Hole in Your Pocket", however it's just when the vocals are mimicking the early Billy Idol that this masterpiece is sending thrills down my spine. Glory be!
The vocal performances are key to "The Last Thing"; first because there are interesting reverberated vocal parts, and secondly as a good 3 guest singers pop in this track of Indie Rock throwing in Americana, certain Goo Goo Dolls, The Cranberries and some doses of Tom Petty. Moreover, you'll agree with me that the first of the two guitar solo displayed here does come from the soul and is pretty moving, ending up being the best one of "The Right Kind of Crazy".
Powerful, rough and led by harmonica contributions, "14 South 5th Street Blues" is a Party Rock song played live by 4 fifths of Fingerprints, the band where Mr. Owens started playing in the late 70's, fit for concluding this second offering from Mound's artist, composer and producer.

63 abundant minutes that don't weigh on the listener at all, flowing easy without them even realizing an hour's gone. There must be something special in Minnesota, since we've been receiving only high quality musical material from over there recently, but this album surmounts all we listened to in the recent past. It possesses a thousand and one details in almost flawless harmony that will keep your attention from beginning to end.
Highly recommended!


Rolling Stone Magazine

The Replacements’ ‘Pleased to Meet Me’ Box Set Is Filled With Great Music the Band Left in the Fridge With rare recordings featuring guitarist Bob Stinson and previously unreleased songs, the collection shines new light on the beloved indie-rock band’s career turning point



Kory Grow


Pleased to Meet Me was the sound of the Replacements trying for once. The band’s previous five LPs were snarky slacker masterpieces full of chintzy songs about hating music ’cause it’s got too many notes, ironic Kiss covers, and the occasional tender ballad, and their concerts were more like drunken hootenannies — all of this sloppiness was what won them their legend. But sometime after recording their beloved Tim album, Paul Westerberg decided they ought to grow up a little, the group parted ways with founding guitarist Bob Stinson, and the ‘Mats became self-aware.

They lost some of their danger, recording the very produced LP as a trio with a supporting cast of thousands, yet still managed to cough up two all-time classics — the beat-skipping “Alex Chilton” on which you can hear Westerberg exuberantly catching his breath and the mellow love letter “Can’t Hardly Wait.” They also recorded a handful of almost classics (“Skyway,” “IOU”), and some tongue-in-cheek head scratchers (the faux-jazzy “Nightclub Jitters” and what might be the Replacements band diary, “I Don’t Know”). In spite of some über-Eighties, ultra-reverberated production (which still sounds better than their next album, Don’t Tell a Soul), the record was the band’s last moment of greatness.

This new box set shows how the album could have been even better. The Replacements recorded a lot of music around Pleased to Meet Me, much of which came out on various singles and compilations, as well as demos, alternate versions of songs, and tunes that for whatever reason were forgotten in the back of the beer fridge.

The most interesting stuff here is in the Blackberry Way Demos, some of which came out on a previous expanded edition of the album. Eight of the tracks feature some of Stinson’s last recordings with the band, and his whiplash snarls on “I.O.U.,” rockabilly shredding “Time Is Killing Us,” and tasteful accents on “Valentine” show what the album could have been. These recordings all have a raw, intimate quality that sounded polished on the LP. Even the demos they cut as a three-piece show how playful they could be; the two versions of Westerberg’s anti-TV screed “Kick It In” demonstrate how they could give a song a facelift on a whim, playing it straight on the first demo and adding bongos and more guitar textures to the second. And the country-rocking “Even If It’s Cheap” is a nice addition, if only to hear Tommy Stinson sing the album title: “Pleased to meet me, the pleasure’s all mine, I’ve seen you here before.” The winking nature of the way he sings the verse and the bridge that sounds a bit like “Jesse’s Girl” maybe explain why it didn’t make it much farther.

Even the collection’s rough mixes — usually the most over larded part of a box set — offer new insights. Gospel organ ran through the original mix of “Valentine.” It sounds like somebody played a little mandolin in “Alex Chilton” at some point. And the strings on the original “Can’t Hardly Wait” stepped on the dropout when Westerberg sings the title.

Of the three fully mixed, never-before-released tunes, “Learn How to Fail,” is the best with its jazzy guitar line and Westerberg convincing someone young to grow up a little before they start dating, followed closely by Tommy Stinson’s hard-rocking “Trouble on the Way.” “Run for the Country,” which features some harmonica, feels a little schmaltzy, and the previously unreleased cover of Billy Swan’s “I Can Help” pales in comparison with the raving drunk cover of the same tune they cut with Tom Waits (on last year’s Don’t Tell a Soul box set).

Taken as a whole — along with Replacements’ biographer Bob Mehr’s ever-excellent liner notes (which shed some light on Bob Stinson’s departure) — the holistic skyway-view of the album shows a band that was a little looser than they would want to let on. The ache in Westerberg’s voice feels deeper on several of the songs, and the way the group could settle into a jam, whether as a four-or three–piece, sounds easier. Now you can finally hear how they tried and where they succeeded.


Replacements Unearth Unreleased Songs recorded @ Blackberry Way for ‘Pleased to Meet Me’ Reissue 

Three-disc set will feature band’s final recordings with Bob Stinson 

By  JON BLISTEIN Rolling Stone Magazine 

 The Replacements will reissue 'Pleased to Meet Me' as a box set, featuring 29 previously unreleased tracks. 

 The Replacements are prepping an expansive box set reissue of their 1987 album, Pleased to Meet Me, featuring an assortment of rarities and unreleased tracks, including Bob Stinson’s final recordings with the band. The set will arrive October 9th via Rhino. 

The collection will boast 29 previously unreleased tracks, including demos, rough mixes and outtakes. To coincide with the box set announcement, the Replacements shared six of those unreleased songs on digital platforms: Rough mixes of “Alex Chilton,” “Never Mind,” “Valentine,” “Kick It in” and non-album tracks, “Birthday Gal” and “Election Day.” 

The Pleased to Meet Me reissue will be anchored by a remastered version of the original album, along with an assortment of B-sides and a version of “Can’t Hardly Wait” remixed by Jimmy Iovine. The rarities include 15 demos — 11 of which are unreleased — recorded at Blackberry Way Studios in Minneapolis during the summer of 1986. Seven of those tracks mark the last recordings the Replacements made with Bob Stinson, who was pushed out of the band not long after (Stinson died in 1995). 

The set will feature eight additional demos the Replacements recorded as a new trio, 13 previously unreleased rough mixes by studio engineer John Hampton, and an assortment of outtakes that were previously released on the 1997 compilation, All for Nothing/Nothing for All. Other unreleased rarities include two Paul Westerberg songs, “Run for the Country” and “Learn How to Fail,” and Tommy Stinson’s “Trouble on the Way.” 

STRUTTER'ZINE Review from Holland

Michael Owens 'The right kind of crazy' (Blackberry Way Records/USA Import) 

Singer/songwriter/guitarist MICHAEL OWENS has a long music history behind him going back to the 1970s when he was part of the band FINGERPRINTS. Fast forward to 2019 and a new solo-album is out. Musically speaking it is a nice mixture of Classic Rock, Americana and Power pop. Michael has a very recognizable voice that reminds me a bit of 1960s VAN MORRISON or a very raw ALICE COOPER, while musically it reminds me a bit of ELVIS COSTELLO, NICK LOWE and STEVE EARLE. It is actually a melting pot of all kinds of 60s-80s pop/rock styles, so it falls somewhere in between all of the previously mentioned acts. Not bad at all, with highlights like the more ballad orientated songs such as Old Man Joad that recalls a bit of classic BRUCE SPRINGSTEEN. I think by now you more or less get the idea of how this sounds, but it's best to check it out for yourself.

Michael Owens Blackberry Way Records

In 1986 Warner Brothers called me and requested a block of time for The Replacements. The sessions turned out to be what I later referred to as the pre-production sessions for “Pleases To Meet Me”. Some of the tracks were composed beforehand and others were worked out as we tracked them. I always felt the first attempt at certain songs like “Shooting Dirty Pool” might have had an edge on the later tracks that came out on the actual release. That is not to say that the later tracks were not great tracks but the vibe is often cool when a song is flushed out for the first time. Bob Mehr “Trouble Boys” called me a few months ago to let me know that Rhino/Warner Brothers was going to release a box set including the tracks from the previously mentioned session @ Blackberry Way along with a newly mixed version of the album and to chat about my remembrances.  I am very much looking forward to hearing these tracks again and glad that the tracks we cut are finally seeing the light of day. 


Chris Riemenschneider  Mpls Star Tribune 7/24/2020 

The third time might still pack a lot of charm for the Replacements’ 1987 album “Pleased to Meet Me,” which will get an even grander deluxe reissue from Rhino/Warner Bros. Records in October than the one churned out in 2008. 

Announced Thursday via Rolling Stone, the new 3-CD, 1-LP version of the beloved record features a remastered version of the original album along with dozens of outtakes -- including 29 tracks never before released. 

Among the “new” stuff are seven tracks that were the band’s last recordings with late guitarist Bob Stinson before he was fired. Those come from sessions at Blackberry Way Studio in Dinkytown over the summer of 1986 and include early versions of “Alex Chilton,” “I.O.U.,” “Valentine” and “Red Red Wine” as well as the non-album tracks “Birthday Gal” and “Election Day.” 

Seven other newly unearthed demo tracks in the collection feature the Replacements as a trio working on versions of “Shooting Dirty Pool” and the outtakes “Kick It In” and “Even If It’s Cheap” – the latter of which features the opening line that gave the record its title: “Pleased to meet me / The pleasure’s all yours.”  

The one vinyl LP in the set (180-gram) features newly issued “rough mixes” of the band’s often physically rough tracks in Memphis. It features most of the songs that made the cut on the original album, also including “Skyway” and “Can’t Hardly Wait.” These early versions were mixed by John Hampton, the engineer who worked with the album’s legendary producer Jim Dickinson at Ardent Studios. 

As with “Dead Man’s Pop” – Rhino’s expanded redux of the 1989 album “Don’t Tell a Soul” – the “Pleased to Meet Me” box set also features a booklet with photos and a history of the album written by Bob Mehr, the Memphis-based author of “Trouble Boys: The True Story of the Replacements.”  

The April Fools