The Replacements-Let It Be (1984 )
The Replacements-Let It Be (1984)
“I'm beyond caring
what anyone expects of me anymore.”
Paul Westerberg
By: Ghost Writer
Taking the
title from an already classic record by a classic band is an enormous sign of
youthful insolence, and The Replacements were really full of it, although they
weren't exactly coming out of the hardcore punk scene like their Minneapolis
peers, Husker Du, they had the attitude, and again lots of it, to become as
bombastic or as explosive as their more hard edged scene comrades, Let It Be
not only is a great record, is definitely one of the greatest rock records of
all time, it smells like classic rock but it is also overloaded with punk
enthusiasm and attitude, as The Replacements took both inspiration on The
Stones raunchy rock and on the Pistols virulent revolution, they were
developing the "loser" attitude explored to death in the decades to
come, but they were “poetic losers” who aspirated to nothing but nearly reached
the skies, at least musically.
Let It Be starts precisely with the provocative swing of I Will Dare, which again, sound like classic rock, but by the time they arrive to Favorite Thing both breakneck speed and Westerberg poetic lyrics takes us into something special, something unseen at the time and that would be exploited to death in later years, a vision that belongs both to the past and to the future, both obnoxious and both admirable, upping once again the ante in the near hardcore punk of We're Coming Out were speed becomes dazzling and the band shows one of its many faces taking listeners again by surprise.
Again The Replacements play with our heads on the confusing moment composed by the 1-2 Tommy Gets His Tonsils Out with its unashamed hardcore rhythms and melodic flourishes and then the introspective cabaret like ballad Androgynous, again showing Paul Westerberg aspiration of becoming an outstanding songwriter, more David Bowie than John Lydon, while the band tackles a great cover of little known Kiss song named Black Diamond, whose jagged voice originally performed by the great Peter Criss, is greatly matched here by Westerberg, who makes the song sound as if it was written by Paul Stanley with him in mind.
Unsatisfied again shows the band iconoclastic stance and throws an unusual and unique tune coming really from the heart, with Westerberg blossoming here as totally outstanding poet whose vision matched to perfection the uncompromising attitude of the band and becoming here an iconic anthem capable of rivaling the Stones own Satisfaction.
The album ends with the amazing Answering Machine where Westerberg again keeps bashing his head against complacency wall, strengthening again the notion that what he has in his heart is something completely knew and original, and that this record, whether you hear it or not is destined to be considered one of the greatest records in rock history, coming from a band that didn’t care if you were there to listen or not, this is the result of a band doing what they want, baring their heart and soul and succeeding in all the possible ways, except economically, like in most truly artistic endeavors.
Let It Be starts precisely with the provocative swing of I Will Dare, which again, sound like classic rock, but by the time they arrive to Favorite Thing both breakneck speed and Westerberg poetic lyrics takes us into something special, something unseen at the time and that would be exploited to death in later years, a vision that belongs both to the past and to the future, both obnoxious and both admirable, upping once again the ante in the near hardcore punk of We're Coming Out were speed becomes dazzling and the band shows one of its many faces taking listeners again by surprise.
Again The Replacements play with our heads on the confusing moment composed by the 1-2 Tommy Gets His Tonsils Out with its unashamed hardcore rhythms and melodic flourishes and then the introspective cabaret like ballad Androgynous, again showing Paul Westerberg aspiration of becoming an outstanding songwriter, more David Bowie than John Lydon, while the band tackles a great cover of little known Kiss song named Black Diamond, whose jagged voice originally performed by the great Peter Criss, is greatly matched here by Westerberg, who makes the song sound as if it was written by Paul Stanley with him in mind.
Unsatisfied again shows the band iconoclastic stance and throws an unusual and unique tune coming really from the heart, with Westerberg blossoming here as totally outstanding poet whose vision matched to perfection the uncompromising attitude of the band and becoming here an iconic anthem capable of rivaling the Stones own Satisfaction.
The album ends with the amazing Answering Machine where Westerberg again keeps bashing his head against complacency wall, strengthening again the notion that what he has in his heart is something completely knew and original, and that this record, whether you hear it or not is destined to be considered one of the greatest records in rock history, coming from a band that didn’t care if you were there to listen or not, this is the result of a band doing what they want, baring their heart and soul and succeeding in all the possible ways, except economically, like in most truly artistic endeavors.
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