Rarely in the annals of music history has an album cover said so much. What takes the song to another level is the fade, where Westerberg repeats the line “I’m in love. I wanna be the platinum blonde in that bar consuming Pall Malls and vodka martinis (vodka from the well, of course), blowing off the soldiers in town on a weekend pass and the lonely conventioneers so desperate for a roll in the hay that they’ll bang a platinum blonde way past her prime sitting in a place that’s way past its prime listening to musicians who sound like they’re way past their prime. Review by JohnXDoesn't USER September 28th, 2015 | 11 replies. . Westerberg’s vocal is appropriately weary and tinted with heartache, completely free of any hints of sardonic compromise. Year in Review: So, How Was Your 2020, Nile Rodgers? Pleased to Meet Me was the sound of the Replacements trying for once. Oddly enough, Westerberg’s defense was pretty solid—he wrote about suicide because it was happening and no one seemed to give a damn. Yes, I’ve taken a lot of heat for my opinion of “Can’t Wait.” Perhaps if I heard a stripped-down version I’d like it better, but Dickinson’s enhancements really turn me off. .” The cause behind the failure to connect isn’t about physical separation or even class in and of itself, but the separation caused by the shame of perceiving himself to be “less than.” That last verse serves as sort of a self-fulfilling prophecy of personal shaming. The inspiration for “I. ( Log Out /  Note that this is a fantasy, not a confession: I was only five years old when Prince Gabe left in all his glory, so don’t try to pin his collapse on me. By the way, do you know what the “R” stands for? The first seven of these demos represent the last recordings made by all four original members of The Replacements. I’ve often wondered whether the Replacements could have been not only more popular but also a better band if they had been more willing to compromise. As it turns out, this was the last time they could still shoot for the stars and seem like their scrappy selves and, in many ways, it was the last true Replacements album. Buddy Holly is too cute for the Replacements to sing about. The second disc explores the creative process behind Pleased To Meet Me with 15 demos, 11 of which are unreleased, that were recorded at Blackberry Way Studios in Minneapolis during the summer of 1986. That was really the only song on the album where he just didn’t get it. Paul Westerberg would write several songs about suicide, but “The Ledge” was by far the most controversial. Roscoe. Let me buy you a drink.” Then I’d take them to my shag-carpeted apartment and fuck them all, taking care to ensure that the three young’uns would survive the experience. I also remember “Nightclub Jitters” being played sloppily on purpose, which was funny, but it was still musical. As for the album: I enjoyed your analysis of side one, but I like side two a lot more than you do. Send us a tip using our anonymous form. … This new box set shows how the album could have been even better. They sing “I’m in love. The Replacements | Pleased to Meet Me-Deluxe Edition | (Rhino/Sire) 4 out of 5 stars. The Beatles could afford the bad press because they had built up tons of goodwill; The Replacements couldn’t afford the controversy. (Mehr).” Though the background “singers” are as sloppy as a poorly aimed-ejaculation, Paul Westerberg is on full-throated fire, a condition most apparent when the voices of his bandmates disappear on the chorus: One foot in the door, the other one in the gutter Much better version—the lead guitar is ripping. The seminal album Pleased To Meet You from The Replacements was unleashed on a very ravenous audience back in 1987 on Sire Records. The producer and Memphis mainstay entered the picture after abortive demo… Later in the chapter covering Pleased to Meet Me, producer Jim Dickinson recalled that “When we started, ‘art’ was a word he wouldn’t let me use . And the strings on the original “Can’t Hardly Wait” stepped on the dropout when Westerberg sings the title. They were even uncomfortable playing “I’ll Be You” when it was a minor hit. The opening track manages to affirm their disdain for commercialism and their rejection of the DiMaggio Doctrine while confirming their ability to dish out nasty, bad-ass rock ‘n’ roll without Bob Stinson lending a hand. He draws small comfort from the fact that the Skyway isn’t the bourgeois refuge it seems to be (“It’s got bums when it’s cold like any other place”), but still clings to the fantasy of meeting the girl someday. and "Shooting Dirty Pool" practically sound like Exile on Main Street at 78 rpm. In gearing up for their sophomore major label album the band began recording demos in a hometown studio. Post was not sent - check your email addresses! The Associated Press reported that Kirby died after he had “collapsed at home,” which sounds like journo-speak for dying in the middle of a glorious ejaculation. Learn how your comment data is processed. Taken as a whole — along with Replacements’ biographer Bob Mehr’s ever-excellent liner notes (which shed some light on Bob Stinson’s departure) — the holistic skyway-view of the album shows a band that was a little looser than they would want to let on. For him, the Skyway isn’t a glass-enclosed path of convenience but a symbol of separation—and given the human tendency to see “higher” as superior to “lower” in everything from architecture to hierarchy, the Skyway becomes a metaphor for caste differences. By the end of the session, he was calling himself an ‘artist.’” Westerberg had always resisted such an elitist label, but by the end of the sessions he admitted, ” . It was all or nothing.”. Yeah, it’s a pretty good song when the Mats just let it flail. The ache in Westerberg’s voice feels deeper on several of the songs, and the way the group could settle into a jam, whether as a four-or three–piece, sounds easier. Pleased to Meet Me … For some necessary clarification, when I use the term classic rock I don't mean the Eagles or the Rolling Stones or whatever the media is calling "classic" now. With rare recordings featuring guitarist Bob Stinson and previously unreleased songs, the collection shines new light on the beloved indie-rock band’s career turning point. There wasn’t a damn thing I could do or say Rieger’s platonic ideal of a performer was Bruce Springsteen: someone who wrung emotion out of every lyric, put himself on the line with each show, and gave 100 percent night after night. So, fuck it—he jumps with a scream to his death, the reporters have their story, the cop did the best he could, viewers of the nightly news shake their heads and ask, “What’s for dessert?” Yes, “The Ledge” is an uncomfortable song indeed, but a damn fine piece of work from a guy who had attempted suicide but somehow managed to distance himself enough from the subject matter to write a believable, evocative story. Musically, it’s easily the tightest song on the album, featuring an exceptionally sensitive and emotionally expansive performance from Westerberg; lyrically, Westerberg does a marvelous job by having his suicidal narrator comment on the indifference that surrounds him while standing on the ledge (“Wind blows cold from the west/I smell coffee, I smell doughnuts for the press”) as opposed to reciting a long litany of grievances or delving into excessive self-pity. In today’s world, painters sell out to gallery owners, authors to publishing houses and musicians to media companies. When the Yankee Clipper was asked why he consistently played so hard, he replied, “There is always some kid who may be seeing me for the first time. In spite of some über-Eighties, ultra-reverberated production (which still sounds better than their next album, Don’t Tell a Soul), the record was the band’s last moment of greatness. Over in the far corner you see a worse-for-the-wear Westerberg at the upright piano, the slop from a glass of bourbon on the rocks barely glistening in the dim pink spotlight shining on the dust-encrusted piano top. Sign up for our newsletter. Shortly after a particularly disastrous Replacements performance, Russ Rieger, the head honcho of their management company, paid Westerberg a visit: The next day, at the band’s hotel, Rieger got into a heated discussion with Westerberg, telling him, “This car-crash mentality is something you have to move away from. Independent music reviewer on altrockchick.com and 50thirdand3rd.com. I’ve been cooped up in the house too long. Change ), You are commenting using your Twitter account. Now you can finally hear how they tried and where they succeeded. What’s that song? 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