Well, that would be my plan until the end of the first bridge when Prince Gabe makes his entrance. He said, “If ‘Alex Chilton’ had been called ‘Buddy Holly,’ it could’ve been the Weezer song.” Litt seemed to be implying that the Replacements should have done something like that, but I think it would have been all wrong. . It was all or nothing.”. Well, yeah, unless you’re the girl trapped under a hundred-and-eighty pounds of dead weight. When Westerberg said it to Jim Dickinson (producer), it was a question of trust; as he acted it out with the record company, it was a matter of insecurity. The music is presented in a 12 x 12 hardcover book loaded with dozens of rarely seen photos along with a detailed history of the Pleased To Meet Me era written by Bob Mehr, who authored The New York Times bestseller, Trouble Boys: The True Story of the Replacements. They did not have the common touch. The Replacements' Pleased to Meet Me marked the moment when Minneapolis met Memphis. James Brown & The Famous Flames – Live at the Apollo, Update on Life, International Relations and the American Boycott, Book Review: Sleeping with Patty Hearst by Mary Lambeth Moore, Trouble Boys: The True Story of the Replacements, King Crimson - In the Court of the Crimson King - Classic Music Review, Fleetwood Mac - Future Games - Classic Music Review, The Kinks - Face to Face - Classic Music Review, Blur - The Great Escape - Classic Music Review (Britpop Series), The Kinks - Come Dancing - Classic Music Review, Frank Sinatra - In the Wee Small Hours - Classic Music Review. They were even uncomfortable playing “I’ll Be You” when it was a minor hit. The Beatles could afford the bad press because they had built up tons of goodwill; The Replacements couldn’t afford the controversy. Oddly enough, Westerberg’s defense was pretty solid—he wrote about suicide because it was happening and no one seemed to give a damn. I owe him my best.” DiMag was the ultimate professional, giving it his all even when his body howled in protest, even when he would have rather skipped the doubleheader and stayed in his New York hotel residence bonking Marilyn Monroe. It had become his refrain, practically a mantra, during Pleased to Meet Me. There’s your superficial tourist take; now we’ll hear from one of the natives. A part of them wanted to be hugely popular, but a part of them didn’t. Does anyone name their kid Roscoe anymore? When you said iTunes, I went and searched the files and found the Hoboken concert. Jim Dickinson took over and added horns in all the wrong places and (gasp) strings to a song that simply couldn’t handle their weightiness. The equally raucous “I Don’t Know,” on Pleased to Meet Me, the Replacements’ fifth full-length platter, is Westerberg’s latest ode to his own uncertainty. In “Skyway,” Paul Westerberg positions himself on a one-way street below the Skyway, “the place where I’d catch my ride most every day.” His wait coincides with the schedule of a woman who uses the Skyway regularly to get to wherever she’s going, most likely to work. 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. Westerberg needed to face that reality without embracing it and learn to live with the tension. Mehr, together with Rhino’s Jason Jones, produced this new collection. Label and pressing variation, '®' in Sire label logos, differs from The Replacements - Pleased To Meet Me which has 'TM' in label logos and embossed 'A' on labels. Released in 1987 by Sire Records, Pleased To Meet Me is the only album recorded by the band as a trio, after original guitarist Bob Stinson acrimoniously left the band. Roscoe. I love that name. Where . Pleased to Meet Me … ... of that voice of utter authority and you’ll begin to grasp the significance I am attempting to attach to The Replacements’ album cover. The quirky lyrics certainly jibe with the quirky subject of the tribute, at one point “Checkin’ his stash by the trash at St. Mark’s Place,” then “Runnin’ ’round the house, Mickey Mouse and the Tarot cards/Falling asleep with a flop pop video on.” But the most memorable and poignant lyrics are saved for the remarkable chorus, a wish for a different world in which the obscure Mr. Chilton is lifted out of oblivion and into the hearts of children everywhere: Children by the million sing for Alex Chilton when he comes ’round Altrockchick. This site uses Akismet to reduce spam. I can’t comment on the comparison as I’ve never heard Gabriel’s licks or Prince Gabe on the trumpet, but even from listening to this too-small sample I can tell that Kirby was one hell of a sax player. The paradox couldn’t be starker. Westerberg’s vocal starts out as if someone had nudged him out of a snooze, and remains a low-volume, low-energy effort throughout. The cover image of The Replacements' 5th studio collection is a telling one: PLEASED TO MEET ME has one foot in the door and the other one in the gutter, with the spirit of the Minneapolis band's punk roots given a newfound polish and a willingness to explore other genres. They lost some of their danger, recording the very produced LP as a trio with a supporting cast of thousands, yet still managed to cough up two all-time classics — the beat-skipping “Alex Chilton” on which you can hear Westerberg exuberantly catching his breath and the mellow love letter “Can’t Hardly Wait.” They also recorded a handful of almost classics (“Skyway,” “IOU”), and some tongue-in-cheek head scratchers (the faux-jazzy “Nightclub Jitters” and what might be the Replacements band diary, “I Don’t Know”). I pretended I was a punk, I pretended I was a rocker, and a drunk, and a hoodlum. 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 key to interpreting the song lies in what appears to be a throwaway line in the first verse. Westerberg’s tone lies somewhere between devil-may-care and fuck-it-all; his voice is filled with grit and power. .” 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. I don’t know of any producers who always got it right; even George Martin screwed up a few times. Independent music reviewer on altrockchick.com and 50thirdand3rd.com. Post was not sent - check your email addresses! Learn how your comment data is processed. Three of those were played in clubs, so they don’t have horns, either. I’m not a hoodlum. Year in Review: So, How Was Your 2020, Nile Rodgers? The arrangement is one of blessed simplicity: acoustic guitar enhanced with echoing reverb and just a touch of vibraphone. . Anyway, Westerberg remained an admirer, deciding to transform a song he’d been working on with the curious title “George from Outer Space” into a tribute to the underappreciated Chilton. And I look great in leather. I don’t know what they were thinking with “Never Mind,” but it sounds like they weren’t. Even the demos they cut as a three-piece show how playful they could be; the two versions of Westerberg’s anti-TV screed “Kick It In” demonstrate how they could give a song a facelift on a whim, playing it straight on the first demo and adding bongos and more guitar textures to the second. 'Can't Hardly Wait' is an awesome song too. While you do hear a few sops to commercial considerations on Pleased to Meet Me, most of those were added by Dickinson post-production. " Pleased to Meet Me is the finest record The Replacements ever made," writes The Current's David Campbell. Please try again later. . Which the world sorely needs to be. The Replacements Pleased To Meet Me. “I can’t mean it every night,” admitted Westerberg, meeting Rieger’s eyes. 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. The limited supporting harmonies are a nice touch, adding a bit of sweetness to balance the power chord attack without softening it. You write these amazing songs. 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. 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There wasn’t a damn thing I could do or say When I hear Westerberg sing, “Gallo or Muscatel, either one would be just swell,” I think, “Disgusting!” And when I hear him categorize all red wine into a single bucket like there’s no difference between Gamay, Pinot and Grenache, I think, “The man’s an idiot.” In any case, the song doesn’t feel quite right to me—they seem to be rocking without a whole lot of underlying commitment and it comes through as “forced enthusiasm.” Given my resistance to this song, those of you who are less anal about wine are free to provide an alternative point of view. The producer and Memphis mainstay entered the picture after abortive demo… disclaimer: I received an advanced copy of this book from the publisher in exchange for review consideration. The band’s previous five LPs were snarky slacker masterpieces full of chintzy songs about hating music ’cause it’s got too many notes, ironic Kiss covers, and the occasional tender ballad, and their concerts were more like drunken hootenannies — all of this sloppiness was what won them their legend. 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 . Oh, well. I was really struck by a comment by Scott Litt, who produced the final Replacements album, All Shook Down. All of the opinions presented below are my own. It was always too cold inside. I’ve never met a Roscoe. Pleased to Meet Me could be heard as an overcompensation for Tim's failings. 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. Westerberg met him after yet another disastrous concert in New York; contrarian Chilton thought was The Replacements were great and said he’d love to record with them. Send us a tip using our anonymous form. That’s what he wanted out of the Replacements. Chilton did work with The Replacements on a few demos, but none of the recordings saw the light of day at the time. It took some doing, but I did find some Mud Boy stuff on YouTube, and his production was spot-on: roots music perfection. These recordings all have a raw, intimate quality that sounded polished on the LP. . 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. Perhaps the best review I have read about Pleased To Meet Me comes from David Fricke (Rolling Stone Magazine) who gave it a glowing review, saying "Tracks like "I.O.U." Like Lennon after the “more popular than Jesus” brouhaha, Westerberg had to defend the song repeatedly in interviews; unlike The Beatles, The Replacements were not the most popular band in the history of the universe. 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. 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. For that reason alone, Minneapolis wins my vote as the most thoughtful and considerate city in the USA. “I Don’t Know” definitely needed something to ground the drunken exuberance and Dickinson made the right call when he brought in future Rock Hall of Famer Steve Douglas on baritone sax. Nelson Rockefeller died “of an apparent heart attack.” Now that is fake news. They were contrarians right from the start. Album Review, Altrockchick, Music Review. Ladies with delicate skin like mine can download a map of the Skyway system when preparing for a visit and work out how to avoid interactions with sub-zero temperatures or breath-sucking heat and humidity. Now you can finally hear how they tried and where they succeeded. Sort of rhymes with Costco. Let’s hit the reset button. Another interesting comment was from the author of the book, but was also backed up by Tommy Stinson. yep . I’m in love with that song.”. What he couldn’t do was fake it. … Yeah, it’s a pretty good song when the Mats just let it flail. I run into an inherent bias in evaluating “Red, Red Wine,” as I have been a wine snob since the age of twelve when my mother began what proved to be a lengthy and thorough oenological education, with close attention paid to the impact of a given terroir on the character of the finished product. Pleased to Meet Me was the sound of the Replacements trying for once. 'Pleased to Meet Me' is considered the 'sell-out' album but really it sounds like a slightly more buffed up and moderately less consistent 'Tim'; I still like it a fair deal, the curveball tracks in particular ('Nightclub Jitters' and 'Skyway') do an excellent job of breaking up the track flow and stop monotony from their typical sound setting in. In stock on November 18, 2020. Year in Review: So, How Was Your 2020, Lars Ulrich. . Even the collection’s rough mixes — usually the most over larded part of a box set — offer new insights. And he wasn’t willing to put himself on the line emotionally. Devo – Q: Are We Not Men? Sexy, sinuous and sensitive wins out over lean and hungry every time. The seminal album Pleased To Meet You from The Replacements was unleashed on a very ravenous audience back in 1987 on Sire Records. Compare that to the orientation of Mr. Westerberg, as captured in Bob Mehr’s Trouble Boys: The True Story of the Replacements. Let me check something . But mostly I just happen to like the tune, and I think it sounds great. Pleased to Meet Me was recorded in Ardent Studios in Memphis, and as a member of The Dixie Flyers, producer Jim Dickinson just had to infuse some of the tracks with Memphis Soul. 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. That was really the only song on the album where he just didn’t get it. Jim Dickinson took over and added horns in all the wrong places and (gasp) strings to a song that simply couldn’t handle their weightiness. I think that underlines the fact that the appeal of the Replacements is not so much their outrageousness as just the fact that they were, in their own way, very genuine. 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Music Reviews: Pleased to Meet Me (Deluxe Edition) by The Replacements released in 2020 via Rhino. 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. To appreciate the importance of the cover, think of Paul Westerberg as the anti-Joe DiMaggio. I’m not referring to the weather when I tell you that I think Minneapolis is a pretty cool city, and one of the coolest things about it is the Skyway, now consisting of 9.5 miles of second-floor enclosed walkways that connect the commercial and entertainment highlights, from stores to hotels to sports venues. . “Shooting Dirty Pool” is just Westerberg bitching about a no-account promoter who bad-mouthed The ‘Mats on college radio after yet another crappy concert. 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. . Trouble Boys: The True Story of the Replacements. You know that he’s on his game in the second line of the song when he elongates the completely unimportant word “right” in the phrase, “Step right up son” with gravelly delight. The kudos to Jim Dickinson keep on comin’ with his decision to bring it Edward “Prince Gabe” Kirby to play alto sax on “Nightclub Jitters.” Kirby was a Beale Street fixture for five decades who earned his nickname because someone told him he played trumpet like the angel Gabriel. Enter your email address to follow this blog and receive notifications of new posts by email. “I just can’t fuckin’ mean it every night.”, Westerberg viewed performing, as he did everything, in stark black-and-white terms. Oh by the way, I saw the Replacements in 1991, five months before they called it quits, and I remember that bassline from “Alex Chilton” sticking in my head for days afterwards. . For better AND for worse. 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. Then again, the Replacements don't make sense as a success story, so the failure of the gleaming, glistening Pleased to Meet Me winds up making its polish kind of heart-rending. Audio CD. Replacements fans are not horrible drunks and screw-ups. £11.19. When you’ve grown up in a certain place and have become thoroughly familiar with the sights, you tend to see patterns instead of details. and "Shooting Dirty Pool" practically sound like Exile on Main Street at 78 rpm. © Copyright 2021 Rolling Stone, LLC, a subsidiary of Penske Business Media, LLC. “Valentine” was a song pulled out of the reject pile at the last minute because Warner wanted another track to comply with the running time paradigms of the day, and the less-than-enthusiastic performance reflects that. “Alex Chilton” is alternative power pop at its best, an explosive, bouncy number with a delightful rhythmic kick in the chorus accentuated by sharp, reverberating hand claps. Westerberg sounds drunker than usual, straining to hit the notes and failing to achieve any sense of coherence in his phrasing. What’s that song? And the country-rocking “Even If It’s Cheap” is a nice addition, if only to hear Tommy Stinson sing the album title: “Pleased to meet me, the pleasure’s all mine, I’ve seen you here before.” The winking nature of the way he sings the verse and the bridge that sounds a bit like “Jesse’s Girl” maybe explain why it didn’t make it much farther. We want to hear from you! Sign up for our newsletter. But as he spit out the  words again to Rieger, it went far deeper. Rarely in the annals of music history has an album cover said so much. When he sings, “I’m the boy they can’t ignore/For the first time in my life, I’m sure,” he knows that all the attention he’s receiving now is as utterly impersonal as the lack of attention paid to him in his brief existence. Imhotep was bankrolled by the pharaoh Djoser; Michelangelo by Pope Julius II; Shakespeare was bound the 3rd Earl of Southhampton. ( Log Out /  If you can find any of his Mud Boy and the Neutrons recordings, I hope you’ll agree. Want more Rolling Stone? I’ve come to grips with the fact that I’m an artist. Change ), You are commenting using your Twitter account. 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. After he sees the girl walking high up in the Skyway, he turns his attention to his appearance: “In my stupid hat and gloves . Of the three fully mixed, never-before-released tunes, “Learn How to Fail,” is the best with its jazzy guitar line and Westerberg convincing someone young to grow up a little before they start dating, followed closely by Tommy Stinson’s hard-rocking “Trouble on the Way.” “Run for the Country,” which features some harmonica, feels a little schmaltzy, and the previously unreleased cover of Billy Swan’s “I Can Help” pales in comparison with the raving drunk cover of the same tune they cut with Tom Waits (on last year’s Don’t Tell a Soul box set). The most interesting stuff here is in the Blackberry Way Demos, some of which came out on a previous expanded edition of the album. There are lots of versions of “Can’t Hardly Wait” without strings, as well as versions without horns. Speaking of degrees of shame, Westerberg recorded this alone, early in the morning before his mates had recovered from the nightly bender, because he didn’t want them to see him as soft. This is how music creates atmosphere, and this is one atmosphere I want to experience! O. U.” is rough, raw and loose, driven by classic guitar riffs and a no-bullshit snare attack from Chris Mars, sustained by Paul Westerberg’s unique approach to phrasing and nasal background vocals that mirror the timbre of a moaning sax. Then they’d be good and drunk, and it would be great. All my Replacements music was alphabetized under T except that one. His three Big Star albums and the fabulous anti-masterpiece Like Flies on Sherbert didn’t do dick as far as the charts were concerned but turned out to be a source of inspiration for bands driving the alt-rock/indie movements in the ’80s and ’90s. Pleased to Meet Me should have ended with “Skyway,” but instead we get the producer-dominated “Can’t Hardly Wait.” This not-much-of-a-song had been around for a while, but The Replacements never found a satisfying arrangement. Change ). . April 18, 2020. Pleased to Meet Me starts off strong with "I.O.U", a song that frequently exposes the Replacements' deep roots in classic rock. The joy generated by that fade makes “Alex Chilton” a leading contender for that all-important song I’m going to play at full blast when this fucking coronavirus shit finally comes to an end. Douglas spends most of the time in minimalist mode, strengthening the bottom, but when he finally gets his place in the sun (after the countdown pause in the middle and on the fade), his wild solos sync perfectly with the drunken exuberance of the band. With dogmatic hard rocker Bob Stinson out of the band, Westerberg felt more comfortable expanding his songwriting playing field with touches of soul, folk and (most noticeably) cocktail hour accompaniment. On the whole, I think Jim Dickinson’s contributions to music and production have made the world a better place. Though not all of Dickinson’s enhancements worked out, hiring Steve Douglas was a masterstroke. Change ), You are commenting using your Facebook account. 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. Ground, ” but it was time to record Pleased to Meet Me the! 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Said Rieger, but I like side two a lot more than you do hear a few,! Move on about suicide, but it was noted that Replacements fans are not like the tune, and hoodlum... With the tension I received an advanced copy of this book from the of...

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