Pleased To Meet Me Was released by Sire Records in , so it's been 25 This album led me to become a full fledged Replacements addict. Elvis' GI Blues album cover and the depiction of a "suit" shaking hands with a. Tommy Stinson formed the Replacements with his brother Bob at the ripe old age of 11 . the first place was because we needed the extra track to make it a full- length album. There was no attempt to shake hands and kiss babies. Going into making Pleased To Meet Me, Paul and I had the conversation. more than just writing and singing and strumming: It also means shaking hands and small After seven albums that earned them a stellar reputation in . They made Pleased to Meet Me as a three-piece group, moving between . We fucking outlasted the whole stinking lot of posers, and all the time they.
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It is a study. And great albums are always more than just one song; they are many.
Musicheads Essentials: The Replacements, 'Pleased to Meet Me'
Ten to 20 will work. Assembling a great album means collaborating with a team, sometimes with people you hardly know and who may not really care the way that you do, or care for you at all. It requires taking risks and experimenting without losing your identity. It demands fearlessness and humility. In recording a great album, artists must creatively reconstruct and perform a song's chosen arrangement in a studio while the meter runs and the clock ticks.
It requires creativity under pressure. Most importantly, a great album requires that choices are made.
Musicheads Essentials: The Replacements, 'Pleased to Meet Me' | The Current
Lots and lots of choices. How much is too much? When is enough really enough? What type of art? Who writes the liner notes? What do they say? When is it all really done? Making a great record is difficult circumstances. The more I learn about what it takes for the final version of an album to arrive in a bin at a record shop, the more I am in awe that even one album exists, never mind its greatness.
Maybe it was because it was the album that my friend Brian forced upon me unlike anything else he ever asked me to try. I was a card carrying Beatles, Zeppelin, and Floyd guy. If it's not on the radio, it must be minor league music.
I had the cassette tape that I was loaned for ten years before I gave it back. I listened to it begrudgingly at first. Then I decided to just leave it in the car cassette player for awhile.
And it started getting through. It started speaking to me. And not just the album, but the band and the way they played. The way Paul Westerberg sang with ragged desperation.
Freddy's Open Mind: The Replacements : Pleased To Meet Me
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 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? 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.