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Post by pacinoyes on Jun 2, 2023 21:11:31 GMT
^ Good one Mattsby - and so many of PW's best songs mention cigarettes - heck they have a song called More Cigarettes ffs ......in before Viced posts the proud to be dumb / anti-higher education classic........ Hear Ya Been To College .....
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Post by pacinoyes on Aug 2, 2023 15:43:08 GMT
Viced , Mattsby , Joaquim , Archie ...here it comes - Sep 22nd (?) Track list DISC 1 1. Hold My Life (Ed Stasium Mix) 2. I'll Buy (Ed Stasium Mix) 3. Kiss Me On The Bus (Ed Stasium Mix) 4. Dose Of Thunder (Ed Stasium Mix) 5. Waitress In The Sky (Ed Stasium Mix) 6. Swingin' Party (Ed Stasium Mix) 7. Bastards Of Young (Ed Stasium Mix) 8. Lay It Down Clown (Ed Stasium Mix) 9. Left Of The Dial (Ed Stasium Mix) 10. Little Mascara (Ed Stasium Mix) 11. Here Comes A Regular (Ed Stasium Mix) DISC 2 1. Hold My Life (2023 Remaster) 2. I'll Buy (2023 Remaster) 3. Kiss Me On The Bus (2023 Remaster) 4. Dose Of Thunder (2023 Remaster) 5. Waitress In The Sky (2023 Remaster) 6. Swingin' Party (2023 Remaster) 7. Bastards Of Young (2023 Remaster) 8. Lay It Down Clown (2023 Remaster) 9. Left Of The Dial (2023 Remaster) 10. Little Mascara (2023 Remaster) 11. Here Comes A Regular (2023 Remaster) DISC 3 1. Can't Hardly Wait (Acoustic Demo) 2. Nowhere Is My Home (Alternate Mix) 3. Can't Hardly Wait (Electric Demo) [Alternate Mix] 4. Left Of The Dial (Alternate Version) 5. Nowhere Is My Home (Alternate Version) 6. Can't Hardly Wait (Cello Version) 7. Kiss Me On The Bus (Studio Demo) 8. Little Mascara (Studio Demo) 9. Bastards Of Young (Alternate Version) 10. Hold My Life (Alternate Version) 11. Having Fun 12. Waitress In The Sky (Alternate Version) 13. Can't Hardly Wait (The "Tim" Version) [Alternate Mix] 14. Swingin' Party (Alternate Version) 15. Here Comes A Regular (Alternate Version) DISC 4 1. Gary's Got A Boner (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 2. Love You Till Friday (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 3. Bastards Of Young (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 4. Can't Hardly Wait (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 5. Answering Machine (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 6. Little Mascara (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 7. Color Me Impressed (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 8. Kiss Me On The Bus (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 9. Favorite Thing (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 10. Mr. Whirly (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 11. Tommy Gets His Tonsils Out (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 12. I Will Dare (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 13. Johnny's Gonna Die (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 14. Dose Of Thunder (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 15. Takin A Ride (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 16. Hitchin' a Ride (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 17. Trouble Boys (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 18. Unsatisfied (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 19. Black Diamond (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 20. Jumpin' Jack Flash (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 21. Customer (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 22. Borstal Breakout (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 23. Take Me Down To The Hospital (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 24. Kids Don't Follow (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 25. Nowhere Man (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 26. The Crusher (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 27. I'm In Trouble (Live at the Cabaret Metro, Chicago, IL, 1/11/86) 28. Go (Live at the Cabaret Metro, Chicago, IL, 1/11/86) www.yahoo.com/entertainment/replacements-announce-tim-deluxe-reissue-140019470.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAABTfmCb2eYe-ac96-1j-zJ6K9_wz19isbb1V1UPG7hTaYxrzwO9FTKSoT_NaZMuCOENZL_AcNn3xTVsdEFnl0FhjIpT_Xa9T5t_RfcvUMa83Z_qVmWnjEuufZm7h_pMg_YpTIGh2X6x9DhG8SD8vtF6Ub_uuR9RBKxgFk90RAnlk
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Post by pacinoyes on Aug 2, 2023 23:45:00 GMT
Press release below - so Tim gets a "better" mix an "original / recreated mix from source tapes" just like DTAS / Dead Man's Pop got so not just a remaster - that's a pretty huge deal ........also "75,000 copies" is only 1,500 per state.......and you figure maybe half of that was in Minnesota, right? ..........fncking legends "“Released in the fall of 1985, The Replacements’ major label debut Tim peaked at No. 192 on the Billboard charts, selling just 75,000 copies. Over time, however, the record would find a mass audience among successive generations thanks to the enduring appeal of anthems like Bastards Of Young and Left Of The Dial and ballads like Swingin Party and Here Comes A Regular. Even with Tim’s evolving status as an all-time classic, The Replacements remained unsatisfied with the sound of the record, largely centered on the mix done by the album’s producer, Rock ’n’ Roll Hall of Famer Tommy Erdelyi, aka Tommy Ramone. Now, after four decades, the LP has finally been given a long overdue sonic overhaul as part of Tim: Let It Bleed Edition, arriving Sept. 22."
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Post by pacinoyes on Aug 5, 2023 19:21:56 GMT
This is the show that is on the upcoming Tim box set which will obviously clean up this recording's rougher spots if you want to sample it.......... this is ~ 3 weeks before the amazing show that comprises the all-timer live album For Sale: Live at Maxwell's Hoboken, NJ February 4, 1986Just 4 songs from what ended up on Tim's 11 tracks - and nothing from Tim - at all - for the last half of the show......because they weren't really dependable guys determined to sell you a product and what not 01. Gary’s Got A Boner 02. Love Ya Till Friday 03. Bastards Of Young 04. Can’t Hardly Wait 05. Answering Machine 06. Little Mascara 07. Color Me Impressed 08. Kiss Me On The Bus 09. Favorite Thing 10. Mr. Whirly 11. Tommy Gets His Tonsils Out 12. I Will Dare 13. Johnny’s Gonna Die 14. Dose Of Thunder 15. Takin A Ride 16. Hitchin’ A Ride (Vanity Fair) 17. Trouble Boys (Dave Edmunds Rockpile) 18. Unsatisfied 19. Black Diamond (KISS) 20. Jumpin Jack Flash (Rolling Stones) 21. Customer 22. Borstal Breakout (Sham 69) 23. Take Me Down To The Hospital 24. Kids Don’t Follow 25. Nowhere Man (The Beatles) 26. The Crusher (Novas) 27. I’m In Trouble 28. Go
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Post by pacinoyes on Aug 9, 2023 7:50:07 GMT
9. Left Of The Dial (Ed Stasium Mix) Just wanted to point something out about this album - this band in general ..........and this "new" version of Left of the Dial: Has any band ever gotten more mileage as part of their rep out of misheard lyrics for this long? Maybe early REM at one time when Stipe mumbled (which was great and mysterious)- but REM you actually know the exact lyrics now and have for years..........The Replacements at least twice on this record - have some of their biggest lyrics printed (wrongly it seems?) for 4 decades Everybody assumed the lyric in this chorus was " on and on and on" but for the first time - ever - in this studio version it is now - pretty clearly imo - "arm in arm in arm".......wtf.........one of the lyrics most associated with the band is "We are the sons of no one" (in Bastards of Young)......but it's really "Wait on the sons of no one" .......and live Westerberg would sometimes sing each of those to make you doubt what you heard (?) - like a prick sorta -sometimes his improvised lyrics were even better too .....No band should ever include a lyric sheet tbh ......
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Post by pacinoyes on Aug 25, 2023 6:35:02 GMT
New track - the Cello version of Can't Hardly Wait .......a little pissed that they are not including the clarinet & bongo version but maybe next time.......j / k
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Post by pacinoyes on Aug 28, 2023 18:30:49 GMT
Article on the box set - interview with Tommy..........also Tommy saying some wacky stuff What do you think about the new mix?
I think it sounds more the way it should have sounded to begin with. The funny thing is there were two records that we did that I always felt sounded terrible and this is one of them. It always sounded bad to me, and when it came out it seemed that everyone whitewashed — including the record company — that there was something wrong with it. Intrinsically, I’ve always known what was wrong with it. The original mix was mixed on fucking headphones. So I don’t suspect Ed Stasium mixing it on headphones. I don’t really know anyone that mixes on headphones, but I always knew there was a problem with that. So this is great. I’m pretty stoked on it. One of the big improvements is that you can actually hear you on the record. You can’t really hear the bass on the original Tim.
Well that’s good … maybe. I never really thought the bass was light on it, I just thought that the overall tones of everything were just weird and weird for no good reason. Because, shit, by the time we did Tim, we’d all gotten familiar with what it looks like to mic an amp and how the studio works and the things that go along with that. But for whatever reason, it just always seemed to me like, “Wow, why does the guitar sound like it’s in a Cheerios box?” And it was weird the way no one ever made a complaint about that. No one ever really said, “Man, this record sounds weird. We should try this or we should try that.” It was strange. But all that said, I’m glad it finally got figured out. This is a philosophical question, maybe, but now that this new version of Tim exists, in your mind is this the “real” Tim? Or is the record that came out in ’85 always going to be the record?
The record that came out in ’85 is always going to be the record. That’s the time and place. You don’t change that. Putting it out with a different mix doesn’t change that. I think what it does do is it tells you the bigger story behind what went into that record. It helps tell a story. We were in such a transitional period then that I think that whether anyone else felt it or not, no one ever pushed the envelope on it to make the mix better. It was my understanding that Ed Stasium was going to mix this record in the first place when Tommy Erdelyi was signed on to do it, but for whatever reasons he was unavailable to mix it at that time, and it was left up to Tommy to do it. I think anyone in that scenario, if they look back now, would probably agree he wasn’t a mixer. For all he brought to the table with him, that wasn’t one of the things that was one of the strong suits. I don’t think that anyone would argue that. But it is what it is. It’s a time and place, and that was done and that’s where it was left. It’s great that we had an opportunity to put out a better sounding mix of this record. It does the story justice, I say. Leave it at that. The appeal of the new mix is that it sounds more like the Replacements did on stage. As opposed to the original record, which is a little muted. Generally speaking, was capturing what you did on stage in the studio the band’s biggest problem when it came to recording?
That was completely it. We sounded like the records we made up to that point, but because we made the leap from indie band to major label band, it made for a confusing transition in a lot of ways. I’m pretty certain that Paul had a pretty good idea at that point that he didn’t want to work with Bob so much in the future, before we even got done making that record. I’m thinking that that’s probably where his head had been going. But when push finally came to shove, it was more about “do we stay this club band with all those shenanigans” or “do we up our game and get into the big leagues”? I think that we tried to that subconsciously. “Now that we’re big, and we’re on Warner Bros., we got to up our game a bit.” But not having anyone really guide us into that, and being left to our own devices, we sabotaged it pretty good in a lot of ways. You mentioned your brother Bob, and it’s well known that he wasn’t around a lot during the sessions for Tim. But you can hear him loud and clear on the live album packaged on the box set. I was really struck, once again, by how inventive he could be when he was inspired.
What made Bob a great guitar player was that he was lightning in a bottle. At the right moment, he could just be crushing and fucking dead on in a way that just was awe-inspiring. And then there would be times when he really wasn’t in it, or too drunk or whatever, and it was disastrous. By the time we got to Tim, the overriding thing was that to up our game meant that we all had to be on board, and Bob really wasn’t able to make that leap. He got lost a little bit in the drugs and alcohol of it, and we couldn’t really reel him in from that. We didn’t have the ability to keep him in it. And at that point, I think Paul probably considered himself a pretty serious songwriter and that’s what he wanted to do. “This is what I’m doing, you’re either with me or against me,” that kind of thing. Bob wasn’t really up to that and Chris and I were. And there’s the history of it. Going back to what you were saying about signing to a major label, the stigma about “selling out” doesn’t really exist anymore. An indie band signing to a corporate label isn’t controversial like it was in the 1980s and ’90s. Looking back, do you feel that making that transition actually changed the band or was that maybe more in your own heads?
I think it probably was both. We were all oddballs, but also confident oddballs, in a way. Blindly confident, even. But in the grand scheme of things, we didn’t really know what the fuck we were doing. The only stigma was to figure out what it meant to make that leap from a small little fucking indie company to a conglomerate where no one fucking even knows who the fuck you are. The move without any help was really a problem. And mind you, we did have some people at Warner Bros. at the time that were very helpful and really tried as much as you could to corral four young, awkward, mischievous young people. There was just a lot of self-sabotage. And we killed ourselves in that regard. I should mention that Tim is my favorite Replacements album. I think it’s a lot of people’s favorite Replacements album. How do you feel about it?
I don’t feel like it’s our greatest record at all. I think that we made the best record we could at that time. Going into that record, we’d been touring so much that I really don’t even know how they scrounged up all these extra tracks and bullshit. It just seems to me that by the time we got there, I don’t think we were really completely ready to make that record when we made it. Hence, I think there are some great songs on there that everyone loves, of course, a good handful of them. But then there’s some also real filler. Like “Dose Of Thunder” isn’t a classic great Replacements song by any stretch. There are a couple of other ones that aren’t so great either. But it was the best we had at that time and the best Paul had up his sleeve. One of those outtakes uncovered in the box set is one of your first songwriting efforts, “Having Fun,” which is a cool little rock ‘n’ roll song. How was your own songwriting evolving at the time?
I’d had the bug for a bit and was starting to get curious about figuring out what it was I wanted to do with it and how that may or may not fit the band mold. To be fair, Paul was always really encouraging to both Chris and I and even Bob for that matter — “you got a song, bring it,” that kind of thing. But obviously we couldn’t compete with what he had already set the groundwork for, because he was our main songwriter. So we would try things and go, “Okay, so I’m not quite ready for that yet, but thanks for fucking hanging out and working on it and let’s move on.” To our detriment, in the early days, one of the things we didn’t do a whole lot was toil with material so much. We were pretty much off the cuff when it came to recording, writing, and producing records. Whereas some people do a thousand takes of a fucking song before they get that thousand and one take that makes the single, we weren’t really able to do that. We did it to a degree, but we always had diminishing returns after a few handfuls of takes. One of the big “what if’s?” with Tim concerns Alex Chilton, who worked briefly with you guys right before the proper Tim sessions and recorded the version of “Left Of The Dial” that made the record. What are your memories of Alex, and did he come close to producing the album?
Well, we were enamored with him because of the obvious. We were Big Star fans. When we hooked up with him, he was off in the darkness. I’m not saying this in a negative way, but I think he was working at Tipitina’s in New Orleans or some other venue down here, mopping floors and stuff. He was, for all intents and purposes, forgotten. I think we were enamored with what he knew and what we adored about his music, and he in turn came to the table stumped by what the fuck we wanted out of him. The reason why it didn’t work is because we really did need a producer, someone to wrangle this whole thing a little bit and he just wasn’t the cat for it. Bob was a bit of a loose cannon and Peter Jesperson was half out the door with R.E.M. We were lost a little bit there. Do you recall why “Can’t Hardly Wait” didn’t make the album?
Paul always knew it had something special about it, but it wasn’t ready for prime time. And that is how we made our records. Paul was very much about the vibe of the song. If we play a song through three or four times and it wasn’t feeling right, it didn’t happen. If it felt right and it felt like we had something to work with, then we could complete it. But for the most part, our best records we made mostly live. We didn’t fuck around with a whole lot of overdubbing in that regard until later on. You said you thought there were two Replacements albums that sounded terrible. I assume the other one is Don’t Tell A Soul?
Correct. That album was remixed on the Dead Man’s Pop box. There have been a lot of Replacements box sets lately.
To be honest with you, I would’ve never done any of them. For us guys in the band, I think that the last thing we want is outtakes out there for the world to hear. There’s a reason why they’re not on the record in the first place. But in the grand scheme of things, our fan base likes the story and so they want to know more. What is comprised of these box sets tells a bigger story about each record. I’m the sort of person that was into that myself. I’m into the deep cuts. I remember fucking Peter Jesperson playing me a bootleg of “Who Killed Davey Moore” by Bob Dylan years and years and years ago. And I remember thinking, “Wow, we’re in a whole other level here where we’re digging in to try and get the bigger picture of what this is about.” Whether it was Bob Dylan or The Clash or whoever. So, being a music fan, I understand the want for that. As an artist, I don’t see the want for that. So there’s a push and pull on that. The fans want to hear it and they’re into it and it makes it a good story for them, and so there’s a reason to do it. And I stay out of it in that regard because I am on the other side of that fence from the fans. I think between the people involved and putting these things out and getting behind them, they’re serving the fans’ wants and needs, and I’m grateful that we’re still uniquely relevant musically to make that want and need there. uproxx.com/indie/the-replacements-tim-box-set-tommy-stinson-interview/
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Post by pacinoyes on Aug 29, 2023 17:24:32 GMT
Bob Mehr podcast on Tim Let It Bleed box set........also he says somewhere in here that Paul is retired - not sure where he says that ....... I have to go back and listen to where I heard that exactly....... It is absolutely essential that Mehr goes into that basement - immediately - and gets as many songs as he can out of there before Paul burns down his house ffs www.comfortmonk.com/podcast/ep-85-bob-mehr-on-the-replacements-tim-let-it-bleed-edition/
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Post by pacinoyes on Sept 7, 2023 22:48:20 GMT
Westerberg's original handwritten lyrics to Here Comes A Regular ..........2 weeks to go
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Post by pacinoyes on Sept 8, 2023 16:45:37 GMT
New book 11/14 - not about them, but you would think a lot of it is ......should also have some mention of Peter Perrett .......and maybe he'd finally be able to answer that REM vs. The Replacements argument "In Euphoric Recall, Jesperson speaks frankly about his struggle with drugs and alcohol, and how it nearly derailed his career and his life. Motivated by his love of music, Jesperson rallied to pick up where he left off with Twin/Tone and the Replacements before heading west to begin the next phase of his career in Los Angeles. While working alongside such noteworthy artists as Dwight Yoakam, Kris Kristofferson, Vic Chesnutt, and Steve Earle, Jesperson experienced firsthand the dramatic changes in the music industry of the 1990s. Through it all, he has retained his passion for the industry and the art, and now, after a half-century in the music business, Jesperson shares his insights, anecdotes, and lessons from his unique vantage point"
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Post by pacinoyes on Sept 13, 2023 21:03:27 GMT
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Post by pacinoyes on Sept 15, 2023 4:19:52 GMT
The greatest American Rock and Roll band......... covering the greatest British Rock and Roll band ...... 1 week to go........
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Post by pacinoyes on Sept 17, 2023 19:54:11 GMT
Early box set album review - it's long - an excerpt though: positive-feedback.com/reviews/music-reviews/the-replacements-tim-let-it-bleed-edition-box-set-from-rhino-entertainment/ Conclusion
Despite never having experienced the kind of broad-based commercial success they deserved, The Replacements are nonetheless one of the most important post-punk and alternative bands ever. Bob Mehr, the co-producer of this box, documented their triumphs and troubles in his New York Times bestseller Trouble Boys: The True Story Of The Replacements, and he further expounds upon their legendary brilliance and seemingly self-destructive aversion to meeting record company expectations in his superb liner notes here. Of course, their rebelliousness was one of the hallmarks that so endeared them to their legion of fans.
Tim: Let It Bleed Edition is undoubtedly one of the best new releases of the year, if for no other reason than its superb sound quality. Which literally shocked me with the improvement it offered over the catalog issue: the Ed Stasium remix of Tim is one of the best-sounding alternative rock records I've ever heard, bar none! Rhino has done an outstanding job with this box, which raises the bar for retrospective reissues. Thanks to everyone at Shore Fire Media for their assistance with this project; this excellent new set comes with my very highest recommendation!
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Post by pacinoyes on Sept 18, 2023 16:04:27 GMT
A ecstatc rave from Slate today It’s barely an exaggeration to say that Stasium’s new mix is like hearing Tim for the first time.
It is quite literally revelatory: guitar flourishes in “Bastards of Young” and “Little Mascara” that were previously buried are now excavated; the piano and strings on “Here Comes a Regular” are newly intelligible; Westerberg’s worn and yearning vocals on classics like “Swingin Party” and “Left of the Dial” have never sounded more alive—you can practically feel him breathe.
Sometimes when an eminent producer is tasked with a project like this, there is a tendency to over-tinker, to impose their own sonic vision to such a degree that it once again drowns out the band’s own work through overcorrection. (And make no mistake: The version of Tim that everyone’s been listening to for the last 38 years is a phenomenal album, sonic peccadilloes and all.) But every choice made here feels in concert with the spirit of the Replacements and everything that made them great. It finally sounds like four guys in a room together, and you’re there tooslate.com/culture/2023/09/replacements-tim-let-it-bleed-edition-reissue-review.html
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Post by pacinoyes on Sept 21, 2023 16:27:49 GMT
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Post by pacinoyes on Sept 23, 2023 10:18:27 GMT
A "10" from the idiots at Pitchfork - that's what they gave Fiona Apple a couple years ago ........wow - this really is good, huh? Fuck off It’s now abundantly clear, both in sound and performance, that Tim is really among the best albums ever recorded...ex post facto. It’s the apex of the Mats, how they should have sounded, how they did sound, how they should be remembered sounding. As diverse as it is dynamic, Tim is full of diamond-sharp songs about the mess of young love, old love, loneliness, dead-end jobs, amphetamines, and alcohol. Rarely does a remix raise a crucial epistemological question about a small Midwestern rock band who would stumble through a bunch of pop and country covers if the audience asked them to play their “pussy set,” but here we are: Should this new remix be considered the real and definitive version of Tim?pitchfork.com/reviews/albums/the-replacements-tim-let-it-bleed-edition/
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Post by pacinoyes on Sept 25, 2023 20:10:27 GMT
5 star review (I guess?) in Rolling Stone from asshat Rob Sheffield who compares the 'Mats Tim to his beloved Taylor Swift - which I guess is ok because he really loves Taylor Swift :
Paul Westerberg has so much in common with Taylor — the emotional realness of their songs, their love of melodrama, their tendency to leave genius songs off the damn album. Both love to casually drop a bombshell confession mid-song, then stroll away — it’s so Westerbergian when Taylor tosses “leavin’ like a father” into “Cardigan,” just as Paul slips “you wonder to yourself if you might be gay” into “Sixteen Blue.” (Gen X’s “Fifteen.”) “Mirrorball” and “Swingin Party” are flip sides of the same late-night heartbreak. Taylor’s most Replacements-ish song is “Ours,” which would fit perfectly on Pleased To Meet Me, the same way his Swiftian “Little Mascara” would fit into the Unhappily Ever After trilogy on Evermore. But one thing they have in common is they just took world-beatingly classic albums and made them better. Tim (The “Let It Bleed” Edition) is like Red (Taylor’s Version), where a soundtrack-of-your-life album gets tweaked and makes you completely re-evaluate your long history with this music. It forces you to let go a lot of things you thought you knew about these artists. www.rollingstone.com/music/music-features/the-replacements-tim-reissue-album-review-1234830591/
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Post by pacinoyes on Oct 2, 2023 17:08:41 GMT
Released - 39 years ago today October 2, 1984 ...........Let it Be .....The Greatest Rock Album of All-TimeIt's my favorite thing........
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Post by pacinoyes on Oct 6, 2023 18:14:33 GMT
Now that Tim - The Let It Bleed Version is out and with Let It Be coming next year Westy is at his peak.......and um, retired..............and if he stays retired this is a great thing to remember him by.......... if you never saw it I mean.......
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Post by pacinoyes on Oct 15, 2023 13:18:39 GMT
Ok, this is only 6 reviews but still it's 1 point higher - 99 /100 - than Fiona Apple's good but wayyyyyyyyyyyy overrated feminist classic (whatever) Fetch the Bolt Cutters......often acknowledged as the "greatest" modern day Rock album (it's not).........Does that mean 1985 was better than now? Yes........yes it does...... That makes me happy since Tim is not politically correct at all - it has a song that puts down stewardesses (they suck, and that was Paul's sister ffs), has 2 songs about scoring some kind of dope........ and uses the mentally disabled offensive term (to many people anyway) which would flat out be looked down upon today and possibly not be allowed by the record label........... "not be allowed" in Rock and Roll ........GTFO........ Gary's Got A Boner would now be Gary's At Full Erection........that's not as funny!! 99 Universal acclaim based on 6 Critic Reviews
Artist(s): Paul Westerberg, Tommy Stinson, Bob Stinson, Chris Mars Summary: The deluxe reissue of The Replacements' 1985 album Tim includes a new mix by Ed Stasium, 50 previously unheard tracks and the entire January 1986 concert at Chicago's Cabaret Metro.
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Post by pacinoyes on Nov 29, 2023 21:11:40 GMT
Talks Beatles, Mats, his love of Phoebe Bridgers (um), and (overrated) Hunky Dory, and the better Ziggy, calls The Next Day the best album - by anybody - of the 21st century (it's really not) and calls Blonde on Blonde (maybe) the best album of all-time.
Looks quite well for being in his 70s......
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Post by pacinoyes on Dec 10, 2023 10:30:30 GMT
The 8 shows (apparently) that The Beatles (REM) played with The Stones (The 'Mats) opening up......unless The 'Mats are The Kinks and Husker Du is The Beatles ........but Husker Du may also be The Who ********************** July 5, 1983 Cleveland Pirate's Cove July 6, 1983 Cincinnati Bogart's July 13, 1983 Boston Paradise Rock Club July 15, 1983 Aberdeen Fountain Casino July 17, 1983 New Haven Toad's Place July 20, 1983 Philadelphia Ripley's Music Hall July 21, 1983 Richmond Much More Club
Aug 10, 1985 Detroit Fox Theatre
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Post by pacinoyes on Dec 30, 2023 16:00:54 GMT
A full public access interview - recently unearthed of the late, great Bob Stinson from 4 / 4 / 1994 : 40 minutes (bottom link)......where Bob pokes fun at Husker Du ("they are in their 50s now" ) and slyly disses Paul - "Hootenanny was just jokes pretending to be songs" Be careful if you watch with subtitles because they are awful ........ for Bob's would have been 64th belated birthday - born December 17th 1959........on the eve of Paul's 64th Birthday......December 31, 1959 December Boys Got It Bad: birminghamland.org/bob-stinson-1994/
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Post by theycallmemrfish on Dec 30, 2023 21:52:16 GMT
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Post by pacinoyes on Dec 31, 2023 4:17:21 GMT
Close enough to December 31st and hey it already is after 12:00 AM in Europe - where he sold even less records ffs: Happy 64th Birthday to the GOAT - so great was he in fact that his very name is used by academics & scholars as a nonsense sounding adjective of tremendous respect: Westerbergian "From the top of the porch through the top of the wall - something went wrong, my name is Paul"
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