Bob “Slim” Dunlap epitomizes the journeyman musician who takes on for the fun of it, when his day time gig allows. Nevertheless, even informal listeners understand his name for just one reason: getting the “popular seat” task of being successful the Substitutes’ late, stressed guitarist Bob Stinson. But there’s even more to Dunlap’s tale than his encounter with that legendarily star-crossed Minneapolis quartet might reveal. Dunlap obtained his first regional attention by using eccentric vocalist/songwriter Curtiss A (Curt Almsted) in the past due ’70s. You start with a 1978 EP by Almsted’s punk rockish Spooks, he graced all except one of Almsted’s Twin/Shade attempts (typified by quirky outbursts like his solitary, “I Don’t Wanna Become President”). At that time, Dunlap got a status as an user-friendly, dependable musician who could match any situation, an excellent that fascinated the Substitutes’ Paul Westerberg. Dunlap dropped the vacancy once the Substitutes let Stinson go ahead June 1986 — but later on reversed himself, citing his admiration for Westerberg’s songwriting because the main reason. Just a churlish zealot could pooh-pooh the advantages of creating a schooled musician in that reckless music group, which grew tighter and much more accomplished through the Pleased to Meet up with Me (1987) and do not Tell a Spirit (1989) eras. (Nevertheless, Dunlap had small input for the previous album, which have been mainly finished before he became a member of.) Dunlap’s moderate manner helped to help ease the emotions of hardcore enthusiasts unmoved by the explanation provided for Stinson’s departure. However his talents discovered little electric outlet on the ultimate Substitutes record, All Shook Down (1990) — which Westerberg sidelined the music group and enlisted program players to augment the album’s stark, uncovered sound. The Substitutes folded once and for all after a extended spring and summertime tour in 1991. Following the break up, Dunlap toured with previous Georgia Satellites loudmouth Dan Baird. He implemented up along with his long-overdue single debut, The Aged New Me (1993); to nobody’s shock, it showcased an motivated, rootsy audio and incisive songwriting that was not expressed through the Substitutes period. His second record, Times SUCH AS THIS (1995), took exactly the same enchanting, low-key path. He continues to be silent within the studio room since, but he still has across the Minneapolis region, and there’s talk of another album.