Sound & Vision Thing: The Replacements - Pleased To Meet Me
Unlike the Pleased To Meet Me remaster, Rhino preserved the dynamic Tim was the first Replacements album I bought, and as such holds a. The Replacements foi uma banda de rock alternativo fundada no ano de 5 - Take Me Down To The Hospital Pleased to Meet Me (). Picking a Replacements album post-Bob Stinson is probably sacrilege to many hardcore Mats fans, but "Pleased To Meet Me" is my favorite.
So yeah, the snare drum still sounds like it's being channeled through a tin can, but it least it sounds like it's coming from a bigger tin can. Yes, the volume is boosted a bit compared to the older CD, but I see and hear little, if any, evidence of dynamic range compression.
Likewise, the dynamic shifts between songs have been preserved on this remaster the quiet songs don't sound as loud as the loud ones. I'll try to post images when I get a chance, but for now you'll have to take my word for it. Tim was the first Replacements album I bought, and as such holds a special place in my heart.
And I have to say, nostalgia aside, I still think it's a kick ass album. Look at that album cover. What the fuck is that?
Freddy's Open Mind: The Replacements : Pleased To Meet Me
Nearly every song on this album is killer. But even though "Clown" is the weakest song on the album, it still contains the classic line "the only exercise you get is the shakes" which I have to believe was written about Bob Mould. You can't entirely slag a track with a line like that.
Every other song on the album is a bona-fide classic. I'd go so far as to say that it is very difficult to think of a run of classic albums as strong as the Replacements had from Let It Be through Pleased To Meet Me. But as great as those Stones albums were, I'll always have more affection for the Replacements, because they were a band that I felt belonged to me, not to some bunch of sell-out old farts whose primary pleasure in life seem to consist of lecturing me about how much cooler everything was when they were my age.
On these albums Paul Westerberg and his crew spoke directly to the issues and concerns of alienated kids coming of age in the late 80s in a way that "classic rock" couldn't.
There's a little less bonus material on Tim, but what's there is great. As others have noted, the short bit of studio chatter that precedes "Left of the Dial" has been eliminated on the remaster personally, on a scale of this rates somewhere between as a concern for me, although I realize others feel differently. EP is clearly sourced from vinyl it doesn't say so in the liner notes, but I guarantee it. 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 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.
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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.
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. 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.