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The Replacements, Reissues
Restless
The first time I heard The Replacements was when my brother gave me a ride to school when I was in junior high, and he played a few tracks off of "Don't Tell a Soul," their almost unanimously reviled penultimate release. I remember being drawn in by the melodies, the quirky Westerberg lyrics, and the almost sloppy nature of it all. Plus, my brother and his friend liked it, and I was a total joiner back then. Years later, as my taste and interest in music improved, I started to look for more Replacements records, only to be disappointed by the lack of them in my record stores, and the apparent inability to order them because they were out of print. This was particularly true of their early output on TwinTone, which you could special order, but it was anyone's guess as to whether or not you would get it. Now, Restless Records is remedying that, albeit controversially, it seems.
The Replacements were never fond of the concept of CDs, as in the story of them trying to destroy their back catalog when they heard that TwinTone was releasing their albums on CD. As it turns out, they only succeeded in destroying the safety copies of the masters, so these Restless reissues of their first four albums are digitally remastered from the original tapes. Reportedly, the surviving members (original guitarist Bob Stinson died in 1995 of a drug overdose) are again not pleased by this project, with Westerberg even saying he was never asked for permission, and since they had no contract with TwinTone they have none with Restless so he might legally contest the pressings. Nevertheless, it is an opportunity for new audiences to hear The 'Mats, arguably the best rock band of the '80s (I still say it was Oingo Boingo. Sorry.) And what will those listeners hear? Probably the sloppiest, poorest recordings of a rock band in its infancy, but some really amazing songs. Is the sound quality all that different from the original CD releases on TwinTone? Nope. So if you have them already, folks, don't bother with these. However, for indie rock from Minneapolis in the '80s, these albums are pretty damned good.
"Sorry Ma" is the quickest and most disposable listen, with the band rocking through eighteen songs at an average of two minutes per song. It's almost The Replacements tribute to hardcore, but it's not in any way an indication of the quality of output they would produce on future records. Completists will love it for 'I Hate Music', 'Shiftless When Idle', and other catchy tunes, but for first time listeners, avoid. The real prize release is "Stink", with the hit potential of 'Fuck School' and 'Dope Smokin' Moron'. It's a raucous, quick record, as well, but it shows an emotional depth on select tracks, most notably 'Go'. Westerberg finally touches on the area he continues to mine today: love and the fear of loss. There's still a lot of edgy noise in their sound, like they want to be a punk band but just aren't good enough, but it's a fun listen for Bob Stinson's guitar antics, and Westerberg's painful vocals.
"Hootenanny" is where their sound really took off, with most of the hard, angry energy missing in favor of earnest songwriting. There are still some quickies, but with tracks like 'Willpower' and 'Within Your Reach' the band was starting to show potential. Westerberg's lyrics were improving, the band was getting tighter, and you can really hear that this was what they wanted more than anything. Which leads to "Let It Be".
Come on, how ballsy is that? They named an album "Let It Be". Were they trying to draw comparisons that are completely unwarranted? Were they just fans of the Beatles and decided to call a record after one of their favorite tracks? Or were they shoving it in the Fab Four's face, saying their era was over and it was time for a new one? My guess it the ladder, though I'm sure the band won't say. "Let It Be" is the best Replacements record: the most cohesive, the most original, and the most impressive. 'I Will Dare', 'Androgynous', 'Unsatisfied', 'Black Diamond, 'Answering Machine'; these are all classic songs for this or any band. The fun-loving spirit is still there, on 'Tommy Gets His Tonsils Out' and 'Gary's Got a Boner', but mostly the maturity of the band is starting to show. Westerberg actually sings, and plays piano. The music has come into its own, with the band improving their arrangements and musicianship. Peter Buck from REM contributes a guitar solo. It's just a great record. Of all of these, it's the one to own, and now's your chance. Then again, if you've never liked The Replacements, never mind. You still won't.
The first time I heard The Replacements was when my brother gave me a ride to school when I was in junior high, and he played a few tracks off of "Don't Tell a Soul," their almost unanimously reviled penultimate release. I remember being drawn in by the melodies, the quirky Westerberg lyrics, and the almost sloppy nature of it all. Plus, my brother and his friend liked it, and I was a total joiner back then. Years later, as my taste and interest in music improved, I started to look for more Replacements records, only to be disappointed by the lack of them in my record stores, and the apparent inability to order them because they were out of print. This was particularly true of their early output on TwinTone, which you could special order, but it was anyone's guess as to whether or not you would get it. Now, Restless Records is remedying that, albeit controversially, it seems. The Replacements were never fond of the concept of CDs, as in the story of them trying to destroy their back catalog when they heard that TwinTone was releasing their albums on CD. As it turns out, they only succeeded in destroying the safety copies of the masters, so these Restless reissues of their first four albums are digitally remastered from the original tapes. Reportedly, the surviving members (original guitarist Bob Stinson died in 1995 of a drug overdose) are again not pleased by this project, with Westerberg even saying he was never asked for permission, and since they had no contract with TwinTone they have none with Restless so he might legally contest the pressings. Nevertheless, it is an opportunity for new audiences to hear The 'Mats, arguably the best rock band of the '80s (I still say it was Oingo Boingo. Sorry.) And what will those listeners hear? Probably the sloppiest, poorest recordings of a rock band in its infancy, but some really amazing songs. Is the sound quality all that different from the original CD releases on TwinTone? Nope. So if you have them already, folks, don't bother with these. However, for indie rock from Minneapolis in the '80s, these albums are pretty damned good. "Sorry Ma" is the quickest and most disposable listen, with the band rocking through eighteen songs at an average of two minutes per song. It's almost The Replacements tribute to hardcore, but it's not in any way an indication of the quality of output they would produce on future records. Completists will love it for 'I Hate Music', 'Shiftless When Idle', and other catchy tunes, but for first time listeners, avoid. The real prize release is "Stink", with the hit potential of 'Fuck School' and 'Dope Smokin' Moron'. It's a raucous, quick record, as well, but it shows an emotional depth on select tracks, most notably 'Go'. Westerberg finally touches on the area he continues to mine today: love and the fear of loss. There's still a lot of edgy noise in their sound, like they want to be a punk band but just aren't good enough, but it's a fun listen for Bob Stinson's guitar antics, and Westerberg's painful vocals."Hootenanny" is where their sound really took off, with most of the hard, angry energy missing in favor of earnest songwriting. There are still some quickies, but with tracks like 'Willpower' and 'Within Your Reach' the band was starting to show potential. Westerberg's lyrics were improving, the band was getting tighter, and you can really hear that this was what they wanted more than anything. Which leads to "Let It Be".
Come on, how ballsy is that? They named an album "Let It Be". Were they trying to draw comparisons that are completely unwarranted? Were they just fans of the Beatles and decided to call a record after one of their favorite tracks? Or were they shoving it in the Fab Four's face, saying their era was over and it was time for a new one? My guess it the ladder, though I'm sure the band won't say. "Let It Be" is the best Replacements record: the most cohesive, the most original, and the most impressive. 'I Will Dare', 'Androgynous', 'Unsatisfied', 'Black Diamond, 'Answering Machine'; these are all classic songs for this or any band. The fun-loving spirit is still there, on 'Tommy Gets His Tonsils Out' and 'Gary's Got a Boner', but mostly the maturity of the band is starting to show. Westerberg actually sings, and plays piano. The music has come into its own, with the band improving their arrangements and musicianship. Peter Buck from REM contributes a guitar solo. It's just a great record. Of all of these, it's the one to own, and now's your chance. Then again, if you've never liked The Replacements, never mind. You still won't.
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