 | Tracklist:
1.I Will Dare
2.Favorite Thing
3.We're Comin' Out
4.Tommy Gets His Tonsils Out
5.Androgynous
6.Black Diamond
7.Unsatisfied
8.Seen Your Video
9.Gary's Got A Boner
10.Sixteen Blue
11.Answering Machine
| Ranking: #3 for 1984 | |
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On 27 Lists
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| Summary: The Replacements' opus. |
2 of 2 thought this review was well written
The Replacements’ skewed and most of all punk version of the more commercial rock around during their existence was unique and singular, and the band became their own separate deity, one that had no imitators. This quartet, which hailed from Minneapolis, also created some of the greatest albums in indie rock history with this style, including Tim, Hootenanny, and Pleased To Meet Me.
But with the exception of Hootenanny, these greats all showed The Replacements in a state of deconstruction: they’d already sold their souls by signing to a major label, band chemistry was worsening with every drunken night that guitarist Bob Stinson experienced, and none of these albums were matching up to Let It Be, the 1984 classic that showcased the band completely embracing their poppier side, while simultaneously maturing in front of our eyes, to everyone’s complete surprise. It also showed a happier Replacements, one that wasn’t constricted by major labels breathing down their back and with slightly less interband drama.
Everything you’ve read is certainly true: Let It Be is a ridiculously good collection of strong tunes, with Paul Westerberg’s songwriting and introspective lyrics all at a high here. In essence, Let It Be is sloppy, catchy garage rock at its greatest, with most songs featuring muscular hooks that lure the listener in while demanding constant replays. However, certain attributes of Let It Be’s sound--the less-than-stellar production values, the messy but endearing instrumentation, Westerberg’s throaty and decidedly un-commercial singing--give it that hometown-band feel. You can almost imagine it being produced right in your garage.
Westerberg is certainly Let It Be’s star, with his excellent vocals, which are mostly throaty croons and often resemble Bruce Springsteen at their rawest, and their sheer emotion (as gay as that sounds) make ballads such as “Sixteen Blue” all the more poignant and memorable. He also shines on the amped-up Kiss cover of “Black Diamond”, which drapes the formerly lame song with a curtain of feedback and Westerberg’s scraggly and enthusiastic rasping. Westerberg’s excitement bleeds through onto the listener, and his performance turns what was destined to be a lame filler cover into a highlight.
Most of the rest of Let It Be is just as excellent. “I Will Dare” is a funky romp that’s simultaneously catchy and messy; “We’re Coming Out” is a blazing exercise in sloppy riffing and ridiculous build-ups and dynamics that’s managed to pave the way for the whole genre of pop-punk, and the slinky guitarwork of “Seen Your Video”, courtesy of Westerberg and (Bob) Stinson, is the pure definition of awesome, from the soloing to the speedy and distorted riffs. “Unsatisfied” is also an excellent track, and is the most stirring ballad on the album, mixing Westerberg’s strained lyrics and vocals with excellent instrumentation courtesy of the other guys; particularly Tommy Stinson’s pounding basslines.
Let It Be contains its fair share of filler, but the album’s fans tend to claim that this filler gives the album a lighter mood, and, at points, I agree: this album really wouldn’t be the same if genuinely funny tracks such as “Tommy Gets His Tonsils Out” were removed. However, there’s no getting around the complete suckage that is “Gary Has a Boner”, which is an overly ironic rocker that features lyrics that try a bit too hard to be funny and witty. It’s hard to count an album down for one song, but this one deserves it.
Don’t let “Boner” ruin your own personal Let It Be experience though; this is truly an album that deserves to be cherished, and is also one where any sort of hyperbole used to describe it seems perfectly justified. Let It Be is sloppy fun, and truly deserves a spot in your collection.
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i don't trust anyone who actually likes classic punk.
| | | Album Rating: 4.5
album isn't punk
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it kind of is actually
Digging: Coalesce - There Is Nothing New Under the Sun
| | | Album Rating: 4.5
actually it's alternative rock, at the most pop-punk but that's still pretty far off.
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Eh, it's got enough punk influences here and there for it to be considered punk imo, but yes, it is mostly an alternative album.
good review aswell
| | | Album Rating: 4.5
yeah i agree definitely with that, and thanks
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Let It Be kicks ass
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the only two westerburg tracks im familiar with are the ones off the singles album and they both kick ass.
Digging: Pavement - Slanted and Enchanted
| | | Album Rating: 4
I can't decide if I like this or Tim more. Both have some amazing songs with a little filler. Good review but Answering Machine is worth a mention.This Message Edited On 02.09.09
Digging: Wilco - Being There | | |
Nice review, great album. 'Unsatisfied' and 'Answering Machien' are fucking brilliant
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"answering machine" is an amazing song! it was that (well, a cover of it by Ginger from the Wildhearts), that got me into the replacement.
i don't think this album is as good as "tim" or "pleased to meet me" but it's still awesome.
Digging: Dresden Dolls - Yes Virginia
| | | Album Rating: 4.5
album kicks ass.
Digging: Do Make Say Think - Other Truths | | | Album Rating: 4.5
Album rules. Androgynous is one of the greatest songs ever.
Digging: The Flaming Lips - Embryonic | | |
Unsatisfied, Answering Machine and Androgynous = classic Westerberg. There's some filler on this though.
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