"Pleased to Meet Me"
The Replacements
Sire
★★★★
It seems The
Replacements have
always had a large
following among the
listeners of progressive
radio stations, but they
still have not been able to
make an impact on the
listening habits of the
average music fan.
“Pleased to Meet Me,”
their second release on a
major label, appears to be
an attempt to change that.
The Replacements
started out on Twin/Tone,
an independent record
label based in
Minneapolis. While signed
with Twin/Tone, the band
released three albums,
one EP and one cassette
recording of a live
performance.
The band’s style varies
from song to song, not
just from album to album.
On any given album,
pulsating, thrashing punk
songs can be heard along
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with slow, melodic songs.
The common elements in
all of the band’s music are
a garage-band sound and
the distinct vocals of Paul
Westerberg, who also
writes most of the band’s
material.
On this latest release,
Westerberg’s lyrics appear
to have matured since his
tenure at Twin/Tone. On
“Tim,” the other album
released on Sire, this was
first evident to a lesser
extent. However, The
Replacements did not
seem entirely comfortable
with this new maturity. On
“Pleased to Meet Me” this
problem has been
overcome, and the result
is the band’s best album
yet.
For the first time in the
group’s career, The
Replacements are using a
saxophone in some of
their arrangements, and
the results are marvelous.
The saxophone
complements the
Replacements’ brand of
music perfectly, whether it
is the energetic song “I
Don’t Know,” the soft and
slow “Nightclub Jitters” or
the very melodic “Can’t
Hardly Wait.”
On “The Ledge” and
“Shooting Dirty Pool, ”
the sound has a slightly
haunting feeling. “Red
Red Wine” and “I.O.U.”
show some of the
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youthful energy left over
from the Twin/Tone days.
“I Don’t Know” is a
delightful song about
indecision.
In the past, it would
have been difficult for The
Replacements to play a
slow romantic song with
any success, but
Westerberg’s voice has
developed to the point
where they can pull it off.
There really is not a bad
cut on the entire album.
The Replacements may
not be for everybody, but
this album has a broader
appeal potential than any
of their previous attempts.
It would be a shame if the
band does not get the
attention it deserves.
Any die-hard fans
should not worry about
the band selling out. They
are essentially the same
diverse band they always
were, but are simply more
mature and more talented
than before.
—Review by Thomas
Reinarts
Wer5'Wte/ ,, !<?
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