Freddy's Open Mind: The Replacements : Pleased To Meet Me
Replacements: Pleased To Meet Me (remastered edition – with bonus tracks) 11 bonus tracks including rare demos and am alternate version of "Can't Hardly. Rhino reissues the second half of the Replacements' discography, from the offering remastered and expanded versions of the three LPs and one EP the ' Mats . Truly, all of the songs on Pleased to Meet Me are great in their own way. \ucem\ueFly\uc/em\ue (shot by Lennon) is still strange and. Pleased to Meet Me is the fifth studio album by the American rock band The Replacements, On September 23, , Pleased to Meet Me was remastered and reissued by Rhino Entertainment with 11 additional tracks consisting of studio.
It's the lone throwaway track on Tim, but 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 Me. 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".
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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. The Replacements - The Ledge Their commercial breakthrough would come two years later, with the considerably mellower Don't Tell a Soul, the 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' worst album.
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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 strangled.
The majority of the material, though, consists of mid-tempo tracks that fit in reasonably well with the leaden production values. 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 final number "Darlin' 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 of strummy delights and poignant dips into minor changes.
And not just the album, but the band and the way they played. The way Paul Westerberg sang with ragged desperation. The way Tommy Stinson and Chris Mars drove the music through your soul like a hammer slamming a nail into wood. The sensible, sometimes fun, and sometimes sad song writing. This album led me to become a full fledged Replacements addict.
I collected everything I could find, from music, to magazines, to VHS tapes of them, and finally into an underground tape trading circuit where I also met some neat people and still correspond with them today; Rob, C9 I collected tons of great live music, demos and outtakes from my new obsession. Well, I can't help it I suppose. I keep going personal when I simply want to review the record.
Oh, well, fuck it. It's my blog, right? How can I share anything about this album without telling you what the draw is? PTMM checks in at a frantic 33 minutes in length. The cover is a take on Elvis' GI Blues album cover and the depiction of a "suit" shaking hands with a someone who was obviously ragged plays into the title of the album.
Was it showing The Replacements coming to terms with being a major label commodity? To date, it was their most polished and technically savvy recording, but don't mistake that for clean and anti-septic. The songs have life and drive. First up on the album is "IOU". It starts the record off on a raucous note. Driving the guitar right down your throat from the get go and letting you know that you are listening to The Replacements.The Replacements - Valentine [Aug '86 Demo] (Last session w/ Bob Stinson)
The lyrics, when dug into, seem to reject the fact that simply because the band is being pushed towards the bright lights, they still don't buy it. They do what they do and don't owe anyone a damn thing. The drumming by Chris Mars is not always technically proficient, but he really pushes the song with his relentless beat. Paul Westerberg was a big fan of Chilton's songwriting and was probably hoping to turn a new generation on to one of his heroes.
The tempo of this song is infectious, as Mars does great work once again and Westerberg writes one of his best hooks ever; "I'm in love, what's that song?
Pleased to Meet 'Em: The Replacements' Sire Years
I'm in love, with that song". Tommy Stinson, in my opinion, is the backbone of the music with his relentless bass, along with the subtle saxophone work.
The lyrics, once again, seem to be a push back on "hitting it big". The line is "one foot in the door, the other one in the gutter". Westerberg realized they were just one step either way from being nothing or being something. There they were, stuck in the middle, with the door closing. Up next is "Nightclub Jitters".
It's a nice slow down take on cocktail jazz. I feel guilty for not listening to it in a dark bar with a bourbon sitting in front of me. This is a song where Westerberg was exploring something different. It fits pretty well right in between "I Don't Know" and "The Ledge", acting as a bridge from pissed off rock n roll to a song with a conscious.
Because of its lyrical content, which is a stark look inside the mind of a disaffected youth who is ready to leap to his demise, it was banned from MTV and seemed a very strange choice for the albums first single.
We are talking about The Replacements here, so why should anyone be shocked. The song doesn't give you a happy ending. The kid doesn't come to his senses. We get a look into his thoughts as people gather below and around him. There is no "movie" ending. If you don't invest in it, how can you be hurt? It's evident in later work that Paul Westerberg wanted to be a star, he just didn't possess the ability to jump in the water and throw caution to the wind. There's a longing to the lyrics.
I don't know of many songs that open with a better line about romanticism ripped away than "Well you wish upon a star, that turns into a plane". It doesn't get any more hopeless than that. This is such a great song that tears your heart out, I can't believe another band hasn't covered this.
It has it all. These are songs that in less than capable hands, could have been a drag on the record as a whole. Sometimes a band just mails in the filler material.
The Replacements don't, and some credit probably goes to producer Jim Dickinson and his direction for the album as a whole. They treat their second tier songs with just as much fervor and love as their more notable tunes.
You get what they want to give you. Most of the time, they give you what you want. The album winds down with two of the bands greatest songs.