Re: The M/F thread - '08a reboot! Still with no requests!
remastered and expanded edition with bonus tracks of The Replacements' fifth album, Pleased To Meet Me, which was released in The singles from. Jon S with the REPLACEMENTS HELL YEAH! (Scott)-I did a huge . What is that "Pleased To Meet Me Sessions" pictured? I don't believe I. Pleased To Meet Me Was released by Sire Records in , so it's . a remastered version (along with all the other Replacements albums).
From the bittersweet realizations of Nobody to the unbound joy of Bent Out of Shape to the complete and utter sadness of Sadly Beautiful and yes, to even that old irreverence in a track like Attitude All Shook Down is an album made by a man at the top of his craft. After this work, Westerberg shows moments of brilliance but nothing shines as bright or is as complete.
Look I could go track by track dissecting songs and inserting my opinion about why each is so brilliant that would be a huge disservice to you though. Instead I invite you to listen or re-listen. The Replacements have always had a split personality.
The early fans wanted the punk rockers; the later fans the bitter sweet songwriter with his heart on his sleeve.
No compilation is going to make every fan happy and attract new devotees. This collection is certainly no exception. It leaves off early studio recordings due to licensing issues and as a result is stuffed full of Warner approved tracks.
Disc two is full of rarer pieces that cater to fans of the punk rock band that wore bad plaid suits when they turned up to play live.
For my money disc one is the one that matters. Other comps may contain a wider selection of albums or a reunited band. It's my blog, right? How can I share anything about this album without telling you what the draw is?The Replacements - Unsatisfied (REMASTERED)
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 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.
Noise Never Ends: The Replacements
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?
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.
Discography Fever: The Replacements
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.
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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.
He dreams of meeting her, but can't quite find the nerve. Love is fleeting, especially when it's expressed from afar. A theme that Westerberg has hit more than once in his career. Notably on "Love Untold" from his solo record Eventually.
The only way to end this album was to save the best for last. There is a lot to love about this song. The lyrics are sublime.
Westerberg longs for and dreams of home as he sits in a shitty hotel room perhaps in Memphis? Lyrically it's hard to beat "I'll be home when I'm sleeping.