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Welcome back, ladies and gentlemen, to the Replacements reissue campaign. Though borrowed from a Radiohead song, that title perfectly encapsulates the original quintessence of the Replacements, who began as a sloppy, substance-abusing, Midwest hardcore punk band. This mercurial interaction of raw elements and increased focus made Let It Be the masterpiece of the hardcore era’s end, as well as the ideal calling card for attracting major labels.
This is where the second half of Rhino’s reissue series picks up. Inthe Replacements released their fourth album and debut for Sire, Tim.
Despite its attachment to parent group WEA, Sire had earned its cool cred by offering a home to the likes the Ramones and Talking Heads. By the mid-’80s, however, it also had a superstar in Madonna, so Sire was not without the ability to rocket its artists to a level of fame beyond hipster renown. The excellent Tim did nothing to diminish the Replacements’ standing as a beloved underground act and hardly earned the band overnight stardom it peaked at on the Billboard Produced in a straight-ahead, no-frills fashion by Tommy Erdelyi aka Tommy Ramonethe record retains all of the buzzing energy of the group’s earlier work, while adding a nice dose of punch to the rhythm section of bassist Tommy Stinson and drummer Chris Mars.
Tim is cleaner sounding than Let It Bebut that’s mostly to do with the band’s evolution from unbridled punks to practiced veterans.
Westerberg’s maturity as a songwriting also demanded cleaner performances. Tunes like the tight and poppy “Kiss Me on the Bus”, snarky honky-tonker “Waitress in the Sky”, and the delicate, reflective “Swingin Party” are all expertly crafted and deserving of inclusion in modern rock songbooks. If the Replacements had stampeded through these numbers in some dodgy recording studio, that would have been a crime.
Fortunately, everything eda08 such that the songs that deserved close attention and care received just that, while the album’s looser and more rockin’ numbers dwr given room to roam.
It’s the lone throwaway track on Timbut its positioning between “Kiss Me on the Bus” and “Waitress in the Sky” provides a nice shot of mindless adrenaline.
The only minor detractor on the album is “Lay It Down Clown”, a brisk yet sour-toned tune buried at track eight. The trio that concludes the record, however, is superb. The lovely “Here Comes a Regular”, which is built mostly on strummed acoustic guitars and Westerberg’s plaintive vocals, is the perfect comedown closer. Sadly, Tim was the final album to feature all four of the original Replacements.
After that record’s tour, lead guitarist Bob Stinson was fired. His life had become too much of a mess for the rest of the band. So, it was as a trio that they recorded ‘s Pleased to Meet Drww. Unfortunately, he employed the standard treatments of the time: Beneath this murk and behind the big beat, however, lurks a batch of songs which equals Tim ‘s in writing and execution.
Appropriately, Big Star’s leader is paid tribute on “Alex Chilton”, a catchy, tight-riffing, and lyrically hyperbolic ditty in which Westerberg declares, “Children by the millions sing for Alex Chilton. That song, and many others on the album, are more carefully executed than the Replacements of past efforts, but the boys still bashed out some fuzzy rockers, too.
The group were also expanding their palette considerably. Horns also punctuate the boozy call-and-response verses of “I Don’t Know” as well as the toe-tapping, sunny, and melodious album closer, “Can’t Hardly Wait”.
The record’s token acoustic ballad, “Skyway”, is perhaps the Replacements’ most beautiful tune. Truly, all of the songs on Pleased to Meet Me are great in their own way.
The LP gave a small bump to the band’s profile, but only enough to earn them a spot on Billboard. Their commercial breakthrough would come dxa08 years later, with the considerably mellower Don’t Tell a Soulthe first to feature new lead guitarist Slim Dunlap. Cloaked in an even heavier layer of reverb and with still more emphasis on the big drum sound that dominated the day, the album possesses a velvety smooth continuity that offers little room for the surges in dynamics and peaks of naked expression that had won the band all its early fans.
There’s no way around it: Don’t Tell a Soul is the Replacements’ dds08 album. That said, it’s far from an embarrassment, as it contains a handful of gems. The songs that work here bare simpler arrangements.
The country-tinged “Achin’ to Be” and jangly opening cut “Talent Show” fare much better than revved-up rockers like “Back to Back” or “Anywhere’s Better Than Here”, each of which sounds dda08. The majority of the material, though, consists of mid-tempo tracks that fit in reasonably well with the leaden production values.
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Toward the end of the LP, the boogie-woogie of “I Won’t” is a fun boost of energy. With its cheesy synth washes, though, penultimate track “Rock ‘n’ Roll Ghost” is maybe the ‘Mats biggest misfire ever. The band rally, however, with the dda0 number dd08 One”, which aches with the kind of passion missing from most of the record, restoring a sense of good will to listeners as Don’t Tell a Soul comes to a close.
Despite its drawbacks, the album reached 57 on the Billboard Scott Litt, who’d produced R. At this point, though, Tommy Stinson and Mars primarily served as backing musicians for Westerberg. Much of the album is founded on laid-back acoustic guitar numbers. This is philosophically disappointing and nowhere near as exciting as the band’s mid-’80s heyday.
On the other hand, it’s hard to be too discouraged when the songwriting is this good. Even the nearly diaphanous “Sadly Beautiful” is bewitchingly Although that’s the slowest and sparest song on the record, few of All Shook Down ‘s tracks are exactly barnburners. The majority of the songs are easy-going, full dfa08 strummy delights and poignant dips into minor changes. The record’s biggest problem is a lack of distinction between some of these cuts.
With careful listens, you can learn to love each of these for what it offers, but they are otherwise like pairs of identical twins you pass on the street. More distinct is the quiet title track, with its weirdly delightful recorder melody in the chorus. Leadoff track “Merry Go Round”, too, is instantly appealing and memorable, as its follow-up, “One Wink at a Time”, which offers another dose of the horns that ameliorated Pleased to Meet Me.
In general, though, there’s no mistaking All Shook Down for the earlier work of the Replacements. It’s not at all surprising that the group went its separate ways the following year.
Mars didn’t even make it as far as the final tour. So, they didn’t exactly go out with a bang, but nor did they whimper. The mellow All Shook Down proved a classy final album for a group that, ten years earlier, was happy to have no class at all.
In the middle of that decade-long stretch, they made two of the finest albums the s have to offer. From this current batch of reissues, Tim is mandatory listening and Pleased to Meet Rzlt comes darn close. Whether or not they’re worth shelling out the bucks for these reissues is debatable.
The sound quality isn’t significantly improved. But, hey, this is the Replacements we’re talking about. Each of these CDs boasts a great deal more music than the old pressings, but only to dew hardcore does “more” generally translate into “better”, as far as bonus tracks are concerned. Does a studio rsllt take of “Kiss Me on the Bus” actually improve Tim? No, of course not. Still, it’s interesting to hear. And then forget about. The same is true for the alternative version of “Alex Chilton”, which includes a false start.
Is anyone surprised that the Replacements needed a few run-throughs before they captured a keeper take? As for unique non-LP tracks, fans and rock purists forgive me for saying that their rendition of “Route 66” isn’t as interesting or as good as Depeche Mode’s. No, the greatest work Rhino’s reissues could accomplish would be to win over a new generation of Replacements listeners.
Albums rda08 as these are always worth revisiting. Adam McKay’s gonzo Dick Cheney biopic satire, Vice, won’t be compared to Shakespeare, but it shares the Bard’s disinterest in supervillains’ motivations. The authors’ whose works we share with you in PopMatters’ 80 Best Books of — from a couple of notable reissues to a number of excellent debuts — poignantly capture how the political is deeply personal, and the personal is undeniably, and beautifully, universal.
This year’s collection includes many independent and self-published artists; no mainstream or superhero comic in sight. It isn’t entirely irredeemable, but The House that Jack Built’ s familiar gimmicks say much more about Lars von Trier as a brand than as a provocateur or artist.
Barry Jenkins’ If Beale Street Could Talk is a near-perfect success both as a grand statement of solidarity and as a gorgeously wrought, long-overdue story of black life and black love. Today we have something special for you Inthe music world saw amazing reissues spanning rock titans to indie upstarts and electronic to pop of all stripes.
Popmatters is wholly independently owned and operated. Music Pleased to Meet ‘Em: The Replacements’ Sire Years. Rhino reissues the second half of the Replacements’ discography, from the mid-’80s masterpiece Tim to their laid-back swan song, All Shook Down.
Dslt Replacements Tim Subtitle: The Replacements – The Ledge. The Replacements – Achin’ to Be.
The Replacements – Merry Go Round. The 80 Best Books of The authors’ whose works we share with you in PopMatters’ 80 Best Books of — from a couple of notable reissues to a number of excellent debuts — poignantly capture how the political is deeply personal, and the personal is undeniably, and beautifully, universal.
Losses, Journeys, and Ascensions: That’s a good thing. The 21 Best Album Re-Issues of Inthe music world saw amazing reissues spanning rock titans to indie upstarts and electronic to pop of all stripes.
The 70 Best Albums of The 80 Best Books of The Best Metal of The 60 Best Songs of Jackie Chan’s dds08 Best Films.