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Battles | Gloss Drop
CD Reviews
Replacements | Rhino Reissues
Tim + Pleased To Meet Me + Don’t Tell A Soul + All Shook Down | Rhino (2008)
By
ZETH LUNDY
|
October 1, 2008
REPLACEMENTS, TIM + PLEASED TO MEET ME + DON’T TELL A SOUL + ALL SHOOK DOWN
" alt="photo of 'REPLACEMENTS, TIM + PLEASED TO MEET ME + DON’T TELL A SOUL + ALL SHOOK DOWN'">
3.0
Stars
Rhino’s second and concluding batch of Replacements reissues (the first four albums were released earlier this year) charts the Minneapolis band’s Great Descent from the heights of rock-and-roll nihilism to the pit of MOR blah. Between the release of
Tim
(1985), the ’Mats’ greatest record and a raggedy piss-take on success, love, and post-whatever, and All Shook Down (1990), a Paul Westerberg solo album in everything but name, lead guitarist Bob Stinson was made a scapegoat for the band’s chemical indulgences and fired, and Westerberg’s songwriting became boring. That said,
Pleased To Meet Me
(1987) remains a potent, if polished, rock record, whereas
Don’t Tell a Soul
(1989) boasts some of the best examples of Westerberg’s ready-for-prime-time revamp (“Achin’ To Be,” “I’ll Be You”). Rhino’s editions sound fantastic, shining up “Kiss Me on the Bus” and putting the knuckles back into Tommy Stinson’s bass.
PTMM
has the best selection of bonus tracks, like the dunderheaded raver “Bundle Up” and the disheveled wail ’n’ blooze “Election Day.”
DTAS
, a more sober affair by ’Mats standards, gets the last laugh with a hidden rehearsal snippet of a cover of a certain dead-ape song by one of their contemporaries. Westerberg, still snotty and entitled, hollers, “If the Pixies are seven, then the ’Mats are eight!”
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,
The Replacements: Sorry Ma, Forgot To Take Out the Trash;
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Less
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ARTICLES BY ZETH LUNDY
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| May 15, 2012
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| May 01, 2012
In 1998, and again in 2000, English singer-songwriter Billy Bragg teamed up with Wilco— not yet on their post-Americana trip — to put unreleased Woody Guthrie lyrics to music.
RUFUS WAINWRIGHT | OUT OF THE GAME
| April 24, 2012
Out of the Game is being billed as the most "pop" album of Rufus Wainwright's career, which is to say that it dismisses many of his trademark classical and/or stagey affinities.
THE DANDY WARHOLS | THIS MACHINE
| April 17, 2012
The title of the Dandy Warhols' eighth record may be a Woody Guthrie allusion, but don't fret — the closest the Portland, Oregon, band get to politics here is a cover of Merle Travis's "16 Tons."
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ZETH LUNDY
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