Replacements pleased to meet me blogspot templates

some old pictures I took: Replacements

replacements pleased to meet me blogspot templates

Picking a Replacements album post-Bob Stinson is probably sacrilege to many hardcore Mats fans, but "Pleased To Meet Me" is my favorite. A ton of live boots for the Mats can be found here: http://replacementslivearchive. What is that "Pleased To Meet Me Sessions". As is the case with any impassioned faith-based group, opinion amongst ardent Replacements fans regarding what constitutes their best work.

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replacements pleased to meet me blogspot templates

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Sound & Vision Thing: The Replacements - Pleased To Meet Me

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replacements pleased to meet me blogspot templates

In addition, your user name will be viewable by other users, along with a profile picture if you have chosen to upload one. They were a band that influenced grunge and the emerging "alternative" sound as it came alive in the early 90's. I never understood the concept of a band or a song getting mainstream radio play being called alternative. They were making music that college kids and misfit teenagers alike, who were sick of hearing the overproduced and over exposed synth rock of New Wave and the bloated excess of popular rock, wanted to hear.

It was real and much of it was raw. The Replacements were a band that started out worshipping punk hero's like Black Flag and the New York Dolls, but wound up moving towards the pop sensibility of say The Box Tops or the Stones at their ragged best. At times, it seems that their fans, record label, and media wanted them to be famous more than they did. The self sabotage is great rock n roll history and diving into " All Over But The Shouting " by Jim Walsh explains some of it quite well.

Showing up to gigs drunk and playing horribly when the "suits" were there to see them, and then showing up the next night and tearing the roof off.

It was who they were. They never seemed comfortable getting attention. They didn't understand how to deal with it. Perhaps the pressures of fame chasing them hastened their death as a band. Perhaps it was inevitable either way.

That's history now though and their body of work is a progression that is interesting when viewed from the distance of time.

the replacements-pleased to meet me promo interview

I could write thousands of words about The Replacements, but I wouldn't be saying anything that hasn't been said before, so I'm going to review my favorite record by The Replacements; Pleased To Meet Me. If you are still with me, then you probably either care about The Replacements or want to learn more No matter why you are still reading, thanks for sticking around.

PTMM, as I will refer to the album from here on out, was the band's second major label record, after having put out four albums on the smaller, Minneapolis based label called Twin Tone Records. Many people consider the album Tim as their masterpiece, and with the music on that record it's hard to disagree. It was their major label debut and had several songs "Bastards Of Young", "Hold My Life", and "Left Of The Dial", that proved to be anthems for many young music lovers who were coming to grips with moving out of their teenage years at a time when everything from fashion to music seemed hollow or to have a dollar sign on it, including their rock n roll heroes.

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. 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.

replacements pleased to meet me blogspot templates

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?

replacements pleased to meet me blogspot templates

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.

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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?

replacements pleased to meet me blogspot templates

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".