Let It Be

After the discord of The Beatles, the group sought to get back to basics with a rock LP and a film about its creation. This was the eventual result. As the 1960s wound down, so did the Beatles. The symmetry was perfect: youthful energy, optimism, and camaraderie had given over to cynicism, discord, and looking out for number one. As the decade's final year began, the White Album was still riding high on the charts and the Yellow Submarine soundtrack was days away from release. But the Beatles were in serious trouble. Nothing about being in the band was enjoyable or easy. The power vacuum left by the death of manager Brian Epstein a year and a half earlier had never been satisfactorily filled; Apple Corps, the multi-media company started by the band a year earlier, was bleeding money; and toughest of all, the once-Fab Four didn't generally enjoy being in the same room together. All were either married or close to it, closing in on 30, and tremendously weary of all they'd been through. Paul McCartney, the most devoted of the gang to the notion of the Beatles (Ringo Starr called him the "Beatleaholic"), thought that the group needed a special project to bring it together. Another White Album-style scenario, with the songwriters in the band working alone in separate studios, enlisting each other to serve as a de facto backup band, was bound to fail. Too much good will and trust had been lost. They needed something big they could all submit to. Several ideas were proposed, most involving a return of some kind to live performance: perhaps a live album of new songs or a huge show in a remote place; maybe the band would charter an ocean liner and make an album on it. Ultimately, it was decided that the band would be filmed on a soundstage rehearsing for a show and developing material for a new album-- a document of the Beatles at work. The theme for the project would be back-to-basics, a return of the group as a performing unit, sans overdubs, emphasizing their inherent musicality. Working title: Get Back. It was an awful idea. First, no one was sure exactly what he was supposed to be doing. Glyn Johns was there, a new presence behind the boards, but he never quite figured out if he was producing or just engineering. Regular producer George Martin was technically on board, but his participation was minimal. While Let It Be was initially meant to be a return to simplicity, Phil Spector's later involvement (he was brought in to "reproduce" the tracks, adding extra voices and instruments to thicken arrangements and remix the record, a decision made without McCartney's input) killed that angle. Organizational chaos aside, the sessions were painful. We all know what it feels like to be around people we don't like for days on end; if reality television has taught us anything, it's that a camera crew in a room full of such people does nothing to ease tension. The time the Beatles spent recording and filming was described by all as supremely unpleasant, despite a later uptick when they'd returned to finish up at Abbey Road. And when they finished, no one really liked what they'd laid down on tape. So not surprisingly, the essential nature of Let It Be is that it feels incomplete and fragmented; it's a difficult album to peg because the Beatles were never sure themselves what they wanted it to be. So the best way to approach it is as a collection of songs by guys who still were churning out classics with some regularity. It may not succeed on the level of the Beatles' previous albums, but there's enough good material to make it a worthy entry in their canon. Outside of the title track, there's little here that feels consequential to the Beatles' legacy. The easy acoustic shuffle of the John Lennon and Paul McCartney duet "Two of Us" has appeal, though, as do the prickly rhythmic drive of George Harrison's "For You Blue" and the bubbling Booker T-isms of McCartney's "Get Back". The swampy "I've Got a Feeling", possibly reflecting McCartney's recent interest in Canned Heat, is intriguing because it sounds so classic rock 70s. And Lennon's "Across the Universe", recorded during the White Album sessions and sounding like it was beamed in from somewhere else, has a certain ringing brilliance. For balance, there's "Dig a Pony" and the boogieing "One After 909", the latter actually written by Lennon and McCartney as kids in the fifties. Still, for plenty of good bands, the best of these would be career highlights. Recorded without joy, set aside for months while a better album was assembled, and finally remixed in a way that enraged one of the band's principals, Let It Be finally saw release in May 1970. But by that point, the Beatles break-up had been official for several weeks. There's since been a live album, compilations, digitization, trolls through the archives, and an ocean of ink spilled about this little band that made it very big. And now there are these CD issues, done beautifully. But there never was a proper reunion, and we can assume that there will never be another Beatles. Ahh fuck, this is the wrong Let it Be, isn't it?

Has a song called androgynous and its a love song concerning two non binary people. In 1984. 5 stars

The Replacements always show up at the right time. This is the most perfect coming of age album I can think of. The sound is mid-maturing from punk to melodic rock. The lyrics are mid-maturing from teen humor to trying to make sense of all the heavy shit that just dropped with adulthood. Post-puberty, post-punk. Songs have huge range of themes: anger, disillusion, massive heartbreak, anti-consumerism, gender identity, angst, boredom, boners. Drunk and sloppy as hell the whole time. Unsatisfied and Answering Machine have always struck a deep chord for me. This time around We're Comin Out knocked me out. Did they create indie rock, college rock, post-punk, and alternative all in one album? I don't know the official lineage. Easy 5 for me. A+

Let It Be looms large among '80s rock albums, generally regarded as one of the greatest records of the decade. So large is its legend and so universal its acclaim that all the praise tends to give the impression that the Replacements' fourth album was designed as a major statement, intended to be something important when its genius, like so many things involving the 'Mats, feels accidental. Compared to other underground landmarks from 1984, Let It Be feels small scale, as it lacks the grand, sprawling ambition of the Minutemen's Double Nickels on the Dime or the dramatic intensity of Hüsker Dü's Zen Arcade, or if the other side of the Atlantic is taken into equation, the clean sense of purpose of The Smiths. Nothing about Let It Be is clean; it's all a ragged mess, careening wildly from dirty jokes to wounded ballads, from utter throwaways to songs haunting in their power. Unlike other classics, Let It Be needs those throwaways -- that Kiss cover, those songs about Tommy getting his tonsils out and Gary's boner, that rant about phony rock & roll -- to lighten the mood and give the album its breathless pacing, but also because without these asides, the album wouldn't be true to the Replacements, who never separated high and low culture, who celebrated pure junk and reluctantly bared their soul. This blend of bluster and vulnerability is why the Replacements were perhaps the most beloved band of their era, as they captured all the chaos and confusion of coming of age in the midst of Reaganomics, and Let It Be is nothing if not a coming-of-age album, perched precisely between adolescence and adulthood. There's just enough angst and tastelessness to have the album speak to teenagers of all generations and just enough complicated emotion to make this music resonate with listeners long past those awkward years, whether they grew up with this album or not. All this works because there is an utter lack of affect in Paul Westerberg's songs and unrestrained glee in the Replacements' roar. Sure, Let It Be has moments where the thunder rolls away and Westerberg is alone, playing "Androgynous" on a piano and howling about having to say good night to an answering machine, but they flow naturally from the band's furious rock & roll, particularly because the raw, unsettled "Unsatisfied" acts as a bridge between these two extremes. But if Let It Be was all angst, it wouldn't have captured so many hearts in the '80s, becoming a virtual soundtrack to the decade for so many listeners, or continue to snag in new fans years later. Unlike so many teenage post-punk records, this doesn't dwell on the pain; it ramps up the jokes and, better still, offers a sense of endless possibilities, especially on the opening pair of "I Will Dare" and "Favorite Thing," two songs where it feels as if the world opened up because of these songs. And that sense of thrilling adventure isn't just due to Westerberg; it's due to the 'Mats as a band, who have never sounded as ferocious and determined as they do here. Just a year earlier, they were playing almost everything for laughs on Hootenanny and just a year later a major-label contract helped pull all their sloppiness into focus on Tim, but here Chris Mars and Tommy Stinson's rhythms are breathlessly exciting and Bob Stinson's guitar wails as if nothing could ever go wrong. Of course, plenty went wrong for the Replacements not too much further down the road, but here they were fully alive as a band, living gloriously in the moment, a fleeting moment when anything and everything seems possible, and that moment still bursts to life whenever Let It Be is played.

How young are you? How old am I? Old enough to remember when this album came out and all the warm feelings it evokes of another time. Let’s count the rings around my eyes. This is a longtime favorite that I was delighted to listen to today. The Replacements were always two bands, the rowdy barroom punks and the band with surprisingly thoughtful lyrics and poppy hooks who hinted at aspirations for something bigger. This album showcases both of those impulses to nice effect. They never really got rid of the rough edges, but they are more prominent on Let It Be than on later albums. These are just some young guys having fun and figuring things out, which sat really well with Gen-Xers who were trying to do the same thing. The album is a touchstone for a lot of people of a certain age. The songs are classic Replacements, ramshackle falling down the stairs rockers mixed with beautiful, wistful, jangly, hooky songs still with edges too rough for them to ever really have that big pop breakthrough. They're fun, punchy, pissy, and bittersweet. And I love them for it. You know what, I just realized after all these years that on the cover of the album, the band is sitting on a roof. Get it, Let It Be... on the roof? That's pretty funny. They knew they weren’t the Beatles and they didn’t want to be the Beatles, so why not have a seat and hang. It doesn’t get more Gen-X than that. Fave songs: I Will Dare, Favorite Thing, Black Diamond, Sixteen Blue, Unsatisfied

Possibly better than the other Let It Be...

It's finally happening, 97 albums in... an album I'd never heard in full before is getting an instant 5 stars. I've left it a good few weeks before committing to a review because I wanted to know if it would stick… but from start to finish, it absolutely has. Paul Westerberg and the rest of The Replacements were in their mid 20s when "Let It Be" was released, with the exception of 18 year old bassist Tommy Stinson. It was their effort to hone their sound and produce something a little more sophisticated than the raw heavy rock of their earlier work, while retaining the angst and grit which gives them their charm. They deliver in spades, with the band turning in committed, energetic and emotive performances. As powerful as Westerberg's raspy, impassioned vocals are, often it's the instrumental accompaniments which steal the show. The album begins at a blistering pace with its only single, "I Will Dare", comprised mostly of polished jangly guitars over a crisp, swung beat. "Favorite Thing" has an even more melodic guitar line than its vocal, with a riff throughout the verses forming one of the catchiest moments on the album. When "We're Comin' Out" threatens to torpedo the quality with some thrashing hardcore, it's suddenly stripped back to gradually accelerating piano and handclaps in the last minute. Later, "Seen Your Video" allows the instrumentals to reign supreme, not bringing in vocals until the last forty-five seconds. Halfway through this tight set of defiant post-punk, there's an unexpected KISS cover ("Black Diamond") which manages to be a vast improvement on the original. It's one in a long line of transgressions The Replacements seem to revel in across the album, along with giving their album the same name as a Beatles release and incorporating titles like "Gary's Got a Boner". At first, I thought any album devoting a song to an erection could only be crass, childish, irritating… but actually it's just one part of a wonderfully scattered, skewed portrait of a band throwing out the rules and, almost accidentally, creating a warts-and-all paean to adolescence. Every one of these songs is torn up with the anxiety of youth, with growing up and seeking satisfaction, identity and love. Songs like "Gary's Got A Boner" and "Tommy Gets His Tonsils Out" respectively contribute the struggle of being a teenager and the terror of being a child: no nuance or understanding, all confusion and mixed emotions. Completing the picture, "Androgynous" and "Unsatisfied" (perhaps my two favourite songs on here) reveal the substance behind the band's style. They're honest, direct and heartaching pleas for a more straightforward life, while the finale, "Answering Machine" becomes a wider call into the void for any kind of answer. The fade-out gives an impression that none is coming, but the Replacements will keep asking the questions. There's so much going on in "Let It Be"'s lean 33 minutes: it's perfectly paced and structured so that not a second is wasted, and it is never boring. The last few weeks, as I've listened track by track and discovered the hidden joys of each song, have been wonderful. "Let It Be" has reminded me how energising it can be to discover a new favourite, and fall in love with music in all its messy ways.

Not the 'Let It Be' I expected the generator to throw up. It was ok but nothing special. I think it says a lot about the state of rock music in the 80s if this is considered to be one of the decade's best albums.

A few riffs that got me going, but the vocalist is awful

I so wanted to be a Replacements fan. But I just don't see the attraction. Average songs, annoying vocals, minimal musical talent displayed. How this album got highly ranked by Spin and Rolling Stone magazines I will never understand. Highlights: Cover of T-Rex's "20th Century Boy", cover of Grass Roots "Temptation Eyes". Says a lot when best songs are covers. D+

Although I can appreciate the emotions and energy that went into creating this music, it simply is not something I find enjoyment in listening to.

I can't begin to tell you how happy I am to find this album on the list. The Replacements are (perhaps) my favorite band, and this is (perhaps) my favorite of their albums. All of their work is great, but the trio of "middle" albums - Let It Be, Tim, and Pleased To Meet Me - are classic. This one is the most rough-around-the-edges of the three. They were still sort of raw punk rockers, but Paul Westerberg's songwriting was maturing by leaps and bounds, and it's the intersection of those two things that makes this album so great. The Replacements, and this album in particular, exemplify rock n' roll. 5 stars, of course.

This is the band that knows the simple joys involved with hanging around long enough for Last Call. Nothing quite beats People Watching, and the Mats might have invented it. Why go home when Gary's popped himself a boner and all that's waiting for you is an answering machine? And besides, Tommy's worried about having his tonsils removed. Bonus points for the Peter Buck guitar solo on "I Will Dare" and a great Kiss cover. Ride for the Deluxe edition to enjoy more covers.

The album that screws with your expectations. Starts off New Wave-esque, then reveals itself as hardcore punk the next track, taking this the extreme in "We're Coming Out" sounding like the Bad Brains. And yeah, it's funny, loud, and engaging, continuing this trend with the next track. It's a fantastic blend of high energy and easy melodic riffs. And then they tell you to screw yourself with "Androgynous," coming out of nowhere is a piano ballad that sounds like a guy on the brink of tears playing in a deserted club. That almost continues to "Black Diamond" but the drums kick in a half minute later and it starting sounding like a glam metal track, but the guy still sounds like he's about to cry, I don't know what to make of it, but it rocks. "Unsatisfied" is probably my favorite but future me don't quote me on this, I really like most of them. "Seen Your Video" is a rocking instrumental but tricks you by having lyrics. I don't get how they could put so much quality in all their tracks; it's frankly scary and impressive. None of these songs are even just decent, and yet there's no repetition at all. I've always heard about these guys but this is my first time playing them, and I'm thoroughly impressed. They have something for everyone here, and they're so open and inviting for the audience to join in. If you just listened to the instrumentals, you'd enjoy it. If you just read the lyrics like poetry, you'd enjoy it. Doesn't matter what genre of rock you like, there's something anyone will enjoy. I don't care if you're a fan of Elton John, Guns n Roses, Sum 41, or Megadeth: there's something. It's not one of my favorite albums yet since I've only just heard them yesterday, but I don't see any reason not to give a perfect score here.

One of the essential drunk albums The big riff halfway through Seen Your Video is one of the most thrilling things in music Most bands work hard to seem cool. These guys couldn't care less and thus speak to the young idiot fuckup in me and I suspect many others. As Pynchon said somewhere I can't remember, being in a rock band is the last just profession.

One of my top five of all time. Amazing album.

aw man, i’m a sucker for the 80’s really fun album, my favorite song has to be Androgynous, that piano with the vocals were just beautiful to listen to, and the lyrics were really sweet and warmed my heart, the message was based as fuck, like the idea of gender is arbitrary and we should be able to where whatever we want wether it be masculine, feminine or something else. Really nice song :) really ahead of its time. Sixteen Blue also had some really pretty instrumentals, great song. I loved the rest of the album too, great hard rock. I’ll give it a 9/10.

Bangers. The lot of them. 4.5 rounding up to five. I hate that I never fully listened before and shout out to Laura Jane for exposing me to Androgynous.

“Unsatisfied” is a smashing song, the rest good, just not up there with it.

Diverting and unpretentious collection of power jangle bangers. Highlight is "Unsatisfied"'s stunning vocal. Might be better on average than the obvious namesake, certainly more consistent.

I think that I have somehow never heard a Replacements song before. I recognized nothing on this album, or any of their other top hits. But I know the name, and even know a bit of singer Paul Westerberg's solo work from his songs on the soundtrack of the movie "Singles." So who are the Replacements? And who were they replacing? Oh, it was Westerberg who did the replacing, by convincing the bands' original singer he was going to be fired, goading him into quitting, then taking the reins and renaming the band!? Well, damn. And I see that the band name itself was a replacement, a definite upgrade from Dogbreath and apparently a necessary rebranding after being banned from a venue they played for disorderly behavior. I'm glad to now know Paul Westerberg and The Replacements better. But I feel like they are constantly replacing and reinventing their sound, sticking to punk and hardcore in their early years. Their attempt on "Let It Be" to move away from that sound led them in lots of different directions, as you can hear on the albums. There's a lot of variation in genre here, which makes the band hard to get comfortable with. Who needs to be comfortable, though? The Replacements also challenged people to be uncomfortable in 1984 with the song "Androgynous," which stood out the most on "Let It Be." After a 2022 filled with debates about transgender rights and drag shows, this song's tolerance reminds us that there have been allies as long as there have been non-conforming people. It also served as a reminder that 1970s and 80s rock music was filled with challenges to gender conformity. While Westerberg sang "Tomorrow who's gonna fuss," we are still waiting for the day the last vestiges of that fussing fades away. As I read about "Androgynous," I realized I had heard a Replacements song before. A couple years ago I heard a cover of "Androgynous" (not realizing who wrote it) in a live backyard session by Joan Jett, Miley Cyrus, and Laura Jane Grace of Against Me! Check it out, and while you're at it, dive even deeper with Against Me!'s "Transgender Dysphoria Blues."

Surprisingly modern sounding, both lyrics and the jams

You know when you have a song saved on your playlist but you don’t even know who sings it? That was me with Within Your Reach. That was off the Hootenanny album, never heard anything off this album before today. The stripped down sound of an early 80s punk 4-piece band really makes me yearn for a decade I never experienced. It sounds a bit boring now, but I’m sure it sounded absolutely mind-boggling back then. I wish I wasn’t desensitized and used to big production music done by computers. This album truly makes me want to spike my hair and walk around in a ripped jean jacket and Converse on the streets of New York smoking a cigarette and flipping off policemen. I’m learning from this project that often the bands that influenced the sound or created it aren’t as widely recognized or remembered as the bands who perfected it. This is one of those times. If I were a teenager in 1984, this would be on my record player every night as I laid on the floor of my bedroom hating my parents. My favorites: I Will Dare, We’re Coming Out, Black Diamond, Answering Machine

This took a second listen, but I really loved this. Just a very kick-ass punk/post punk album. Definitely feels like it inspired Nirvana and The Strokes. 4.5 Stars

Obviously way ahead of it's time, 90s alt rock about 10 years before it was a thing, but as a result of that it sounds a bit generic. Still a decent album though.

Such a kickass album. The opener, I Will Dare, is a very well aged indie rock song. It's probably one of my favorite songs on this list so far, just such an fun, bopping riff. But theres also some really heartfelt songs, with Androgynous leading the way here. I think ultimately this will be the song I add to my list because there isn't really much like it that I've heard before. Overall, this album was amazing and I will be back.

Rating: 10/10 One of the best albums of the 80s. A seamless mix of punk, rock, and indie that's simultaneously infectious and thought-provoking. Sounds way ahead of its time.

Listening to The Replacements takes me back to my early college days; and their rough, give no shits attitude is what I love best about the 'Mats. This album gives the listener a taste of both their earlier raw sound and their upcoming more polished sound that will happen on the album Tim. I Will Dare, Unsatisfied and Sixteen Blue are some damn fine songs!

Impressive

this was a solid album, no skips and i definitely added a bunch to my playlists. they can sing well and their instrumentals are good, ic an hear the emotion in their voice. it's wonderful, i hope to see them again.

The heartfelt backdrop to my college years.

This will always be one of my favorites

Really liked this - chaotic and frenetic, but not a mess. Far from it - I Will Dare, Tommy Gets His Tonsils Out, and We're Comin' Out were brilliant.

Wow, I’ve heard of the replacements, never really listened to an album. Really like this, great mix of punk and early “college rock” sounds. Might be one of my first surprises where I’m giving a 5 star!

one of the best 80s alternative albums imo

A perfect example of early indie rock. Unsatisfied and Androgynous are still huge hits in my eyes. A perfect album!

Goated

ive been extremely exhausted due to recovering from sickness, its maybe questionable whether i should still be doing these daily albums at all but so far ive been fine if sparse on my writing. all this is to say that something in this reached into me and pulled out a very strong emotional reaction, but im having a hard time identifying what...need more listens with a clearer head and body for that. but lowkey this is one of my fave New To Me albums of this project so far...sits compellingly between deceptively numerous genres, but not thru pastiche or whatever, just feels like the most natural alchemy ever of this particular group of ppl writing and playing songs together in a Rock framework. feels as comfortably itselt as it is anxious and fluid...the moments of immaturity that u learn to not repeat but represent something painfully honest. idk. i loved this very much

Absolute Classic Perfect Album no notes, an all time favorite.

own

stone cold classic imo, simultaneously rough and lo fi and impeccably polished songwriting. that closer is so good too

What an amazing album...absolute classic. In the words of Eddie Argos of Art Brut...I found myself baffled in my early 30's wondering "how have I only just discovered the Replacements?" Clearly the highlight of an impressive catalogue, including some of my all time favs like "I Will Dare" and "Seen Your Video", this one could truly be considered "My Favorite Thing". 5/5

Apparently I'm a fan of the Replacements now. Gonna dive into them deeper.

One of the best albums ever. No doubt

"Let It Be" is the third album by Minneapolis rock band The Replacements and happens to be one of my favorite albums of the 80's. Heck, of any decade. Lead singer/guitarist Paul Westerberg had grown tired of playing noisy and "fake" hardcore rock and wanted to write songs a little more sincere. A one-line description is a post-punk album with coming of age themes. I think that's accurate but The Replacements didn't completely throw away their punk and brattiness and as Pitchfork points out, that's what takes this album to the next level with sincere, more serious songs mixed with loud, brash, harder, less serious songs. The yin and the yang. A whole of album of "Unsatisfied"'s would have been very overwrought. The album was named for the next song they heard on the radio (and to poke fun at their manager, a big Beatles fan). Westerberg said it came close to being named "Let It Bleed." I guess "Gimme Shelter" was the next song they heard. There was a huge critical response then and since being described as "The peak of American indie rock" and "A cornerstone of alternative music." Jangly guitars open "I Will Dare." Catchy guitar and vocal choruses. The Replacements at their pop-rock best. About the band willing to do anything. Guitarist Bob Stinson couldn't come up with a solo so R.E.M.'s Peter Buck did and does the solo. Things speed up on "Favorite Thing" but are still melodic. The rhythm guitar carries this one. I think a love song. Alright we go snotty-'Mats' punk and attitude on the next two songs: "We're Coming Out" is another song about the band taking chances. "Tommy Gets His Tonsils Out" is, well, about bassist Tommy Stinson getting his tonsils out. True story during one of their tours. Let's go back to the sensitive side of things in "Androgynous." Only piano. Appearance and sexual identity shouldn't matter. An album high point. Why not end with a KISS cover in "Black Diamond." Killer Bob Stinson solo. And then we begin one of the best album sides in rock history. Paul Westerberg had to record "Unsatisfied" away from everyone and facing the wall to get and because of his emotions. An incredible raspy, vocal performance as the music plays with him. Great layered guitars. A song about discontent (with the music industry). I think all of the emo genre is based on this song...for better or worse. "Seen Your Video" is mostly instrumental with great guitar interplay. Obviously, a very anti-music song. And The Replacements backed it up by making very lame videos themselves. Touché. We need one yang song on Side Two and that one is the rockin' "Gary's Got a Boner." "He's got one but not for long." "Sixteen Blue" is about the awkwardness of being sixteen. Hey, I was sixteen when this album came out. Was I awkward? I don't remember. Probably. Hell, what do you mean was? Great, great guitar melody and an absolutely searing Stinson guitar solo fading the song out. Westerberg keeps upping the emotional level and just tears threw it on the closer "Answering Machine." Westerberg on the 12-string as he asks and screams "How can I say I love you to an answering machine." Drums kick in. An operator's voice comes in asking for change. We end in chaos. Wow! It's a shame this is the only Replacements' album in the challenge. Their next two albums "Tim" and "Please to Meet Me" are also brilliant. At that time and after this album, there was a major label bidding war between The Replacements and R.E.M. Well, we know how that ended but emphasizes how highly this album was thought of. It still sounds great and deserves every bit of its many accolades.

Old school rock that makes my feet dance. Androgynous is possibly the best track on the record, but some tracks like Answering Machine and 20th century boy come close

The “Let It Be” that matters.

I only knew Alex Chilton from this band, so I was surprised how heavy and punk it was. Sounded a little like the singer from Suicidal Tendancies and of course Kurt Cobain. I’ll listen to it again. Favorite track: Black Diamond. It’s also one of my favorite KISS songs.

I get hit with a wave of affection for them with every new song. A sparkly, refreshing, youthful, sincere little album. An Appletiser of an album, if you will. And if you won’t, I still will.

4/5 (excellent). I loved this. Keanu Reeves at his peak. The scene where they all dance to "I Will Survive" in jail chokes me up every time. https://youtu.be/OAKOwWsu-nk?t=74 Seriously though, the kicker from the replacements could be in this band. recommended for: smoking a cigarette on the sideline

this albums a little inconsistent. half of it is like garage rock punk rock bullshit that has some nice guitar tones but feels a little weak and lame, the other half is a bit lighter and honestly better. my fav stuff on here is the couple of jangle pop-y songs they are Quality. honestly i might just like jangle pop? worth exploring more. nothing here is rly bad anyways but its split between like amazing and light 8. album discussion over

Ha boner

Raw delivered competently.

Not sure why this album is on for 1001 albums to hear. There's absolutely nothing notable about these guys, you can go into town any weekend and there'll be a group of misfits playing in some pub somewhere of the same calibre as these guys. So they stole a few rifts from early Jam and Undertones tracks, and wrapped some variations around it... but none of it was stand out or memorable.

Eh. The album was 33 minutes long and even that felt like a chore. A couple of songs sounded familiar but that's because they were covers apparently. Not desire to relisten to it. Should not have listened to it in the first place.

just here for androgynous

A forgettable album that doesn't appear to know what it wants to be, veering from punk to rock and roll to MOR. A couple of ok tracks.

Day487 - the replacements were confident enough to name their album let it be and cool enough to make it awesome

I’ve definitely been missing out by not listening to this album over the years. The roots of alt rock taking hold here. Minnesota is underrated for the musicians that come out of there

I'm rather fond - punk and losery while also sounding pleasant

this album is so goated

It's noisy and messy and raucous with a sense of controlled chaos, and I am here for every freaking minute of it!

Classic.

I overlooked this at first listen, but it's actually so perfect. I'm glad I gave it a second shot. Definitely wouldn't have appreciated it as a teenager, I don't think. Too understated. It reminds me a lot of R.E.M. and a bit of Hüsker Dü at times? Why is this so fucking good?

Not sure if it my state of mind, but this album kicks butt

Huge album that filled America post punk and Indy scene of the 80’s (thank god!)

Gary's not the only one with a boner around here. This album rocked. It checked all of the boxes of what a great album needs. The album flows really well with a great variety of tones, volumes, and genres. The lyrics and topics across the album are a perfect blend of being hilarious and serious. Listened to this album three times and had the same amount of enjoyment. The only downside to this album is that I think it started off too slow with the first two songs. They didn't hit as hard as the remainder of the album. Great songs: Black Diamond, Unsatisfied, Sixteen Blue, Gary's Got a Boner, We're Coming Out, Answering Machine (honestly can list almost all of them) This album was clearly pushing boundaries at the time, and I'm sure angered a lot of boomers, making it even more entertaining. Soft 5/5

Is this a 5/5? It might be, the songs are great, earnest, and the album sequencing is near-perfect. I will dare is such a great opener, followed by favorite things is so good. I love Androgynous too. This album picks up right where The Clash left off for me. I love this record

Five songs into this album, and the record goes from not giving a shit to very much giving one; from the bravado of 'Yeah I hear, I think, I know / Rock don't give a shit, you know' ('Favorite Thing') to the reserved optimism of 'One more night to get it half right' ('We're Comin' Out') to the ahead-of-its-time negotiation of the gender spectrum of 'Mirror image, see no damage' ('Androgynous'). There's authentic wisdom here: 'Your age is the hardest age / Everything drags and drags.' I love the sense that Paul is having a heart-to-heart w/ a young kid going thru it. This one's over in a blink, and by the end, I'm more than satisfied. If it's not quite sublime, it's still perfect, it's still exactly what I'd want out of a record. Bravo to that.

Been waiting on this one. Absolutely lived up to the hype and I am sad to have only just listened to it in its entirety. 16 year old me is kicking my 40 something year old ass for waiting so long...

I Will Dare ❤️

Love it! ‘Twas my first taste of the replacements back in the mid 80’s, and I’ve owned everything since. Jumping back to their earlier punk days found a different vibe, but equally as good. I can get their early fan base resented the transition to a more contemporary sound. Perhaps I was lucky to catch them in the middle. One thing seems certain; Westerberg was no sell out. His distain for MTV was apparent on their Bastards of Young vid, and getting banned from SNL cemented his status as an anti-establishment rock curmudgeon. People also complained about their live shows, as they often played hammered. I rather enjoyed them in their raw, playful behavior. Caught their show a handful of times in Seattle, where sets often ended in a noisy haze of smoke and humor. One night, they came on stage without eyebrows, courtesy of some shaving silliness with their opening act and drinking buddies, the Young Fresh Fellows. Fun night. Back to the album…. 5 stars! Unsatisfied gives me chills. God Bless the Replacements.

This album rules and I am mad I hadn't heard it till last year. I love the mix of like indie, punk, older rock, etc. It's just very good. 4.5/5

One of the best college rock albums ever, although Tim is even better. A-

Heard a lot about the replacements and let it be, another hugely influential post-punk album I've never listened to. Sounds to me like this has a lot more melody than the other similar bands at the time and its right up my street, think Weezer, Ash and a million other bands I like would have listened to them. I love when a band has proper ropey punk production but plays music like this. It didn't click as perfect on the first listen, a couple of songs didn't land but definitely listening again. 4.5.

Never heard of the replacements and really liked this. Kinda rough, messy, soft punk, rock thing going on. Carelessness of youth. We're coming out Androgynous Sixteen blue Strong 4, I'll be back

Should buy

Love this, and Tim possibly even more so. Androgynous is wonderful. So much similarity with Cobain in the voice.

This one started out as a 2 or so for me, but after a couple of relistens, notched its way up. By that point found very few duds in the bunch and the whole album holds together so well. Definitely raw, but you can hear the building blocks of where they, and the other bands they influenced, are going. Looking forward to more of the catalog.

I mean come on !

Favorite Tracks: I Will Dare Black Diamond Androgynous

Punk with song structure Oddly catchy anti-pop Not unsatisfied

Happy 4th of July to one of the finest albums of the 1980s and the Mats at their sloppy, immature, drunken, heartfelt, coming-of-age best. Look me in the eye then tell me that I’m satisfied.

Seminal

I really dig this LP, solid music choice.

Er zijn heel veel zangers (met name Britse) met zeurderige stemmen. En op het eerste gezicht lijkt dit ook niet de beste zanger, maar ik vind dit licht schurende geluid echt fijn om te luisteren. Het doet me wat aan the Gaslight Anthem denken, met name door het stemgeluid. De muziek heeft af en toe dat rafelige punkrandje, maar het zijn toch echt wel vaak prima liedjes. Net als the Clash gaat dit wat meer de poppy kant op, al houden ze wel duidelijker de roots met de punk(rock). Maar dan met het melancholische van Gorki. Een schitterende combinatie. Ik heb dit album nu gewoon een paar keer opgezet om te bedenken wat ik er van vind, en ik zit elke keer met veel plezier te luisteren. Het is een soort voorloper van de latere punkrock waar ik veel naar heb geluisterd,. En dus niet een voorloper die klinkt als een soort rauwe mix van geluiden. Juist een waar meer structuur in zit. Ik ga gewoon lekker 4,5 ster afronden naar een 5.

Pretty much everything you want a garage rock album to sound like. Ragged, passionate, pregnant with youthful angst - and choc-ful of melody. To these ears 'Androgynous', whilst a welcome change of pace, is the weakest cut here. It's got the most individual plays on Spotify. Curious!

i really loved this album. i knew androgynous and the original of 20th century boy going into this but nothing else on this album. alex chilton and kids don't follow are classic tracks i love from other replacements albums, so i figured i'd like these too. favorites: only gary's got a boner and the outtakes failed to impress. what a great record.

Classic. Such a change from Hootenanny. Full of great melodies, teenage angst, and different styles. Loved every somg.

Well this is easy, The Replacements have been one of my most listened to bands over the last couple years, this album especially. They're so versatile, from punk ragers, to sweet piano ballads, to indie rock bangers, they can do anything. Could name every song as a favourite, but i'll just mention that 'Androdgynous' is beautiful, 'Answering Machine' is a gut-punching way to end the album, and 'Unsatisfied' is one of the most passionate rock songs i've ever heard, in the vocals specifically. Absolute alt/indie classic.

what? this album is too good to be on this list??? im ill :((

I was already being actively sold on this album as soon as I put it on, annoyed that I had somehow avoided it in my youth despite it being an obvious and known influence on the Midwest emo and 2000s pop-punk bands I loved at 17. Then "Androgynous" came on, and my nonbinary transfemme ass just started sobbing. Shout out to these drunk punks for being allies in 1984 😭💛🤍💜🖤😭 And shout out to them for being the first hardcore band to break the mold in a way that's actually cool while still making a killer hardcore record!! I'd ask "where has this been all my life," but I'm just ecstatic it's in my life now. Brand new favorite album, will be playing it into the ground for years to come.

Absolutely love this album. A little punky in the best ways and just filled with earworms. I'll never tire of this album or The 'Mats in general. I don't think Tim made the list but it should have as well.

Quite the surprise. Had to define because it seems to switch genres repeatedly, but solid songs all the way through. Truly an unexpected gem.

I’ve listened to this album before and enjoyed it, but listening to it in this time in this context, it really hit me like a sack of bricks. In a good way. The Replacements really had all the ingredients, didn’t they? Too bad.

awwsome!! always loved them!!

This is one of the groups that I figured was missing from my listening experience that this project would expose me to, and here we are. I’m still not sure I have a solid handle on post-punk, but when I saw these guys described as such I wasn’t so sure I would like this album. Well it lives up to the hype for me, because I loved it! The titles of a couple of songs gave me pause… “Tommy Gets His Tonsils Out”, “Gary’s Got a Boner”… they were great! And they do a nice cover of Kiss’ Black Diamond. These guys are talented and a lot of fun. I especially loved the harder turn it took about halfway through. Terrific!

Ooh I’m excited for this one. I know a few songs by the replacements, including favorite thing, so I know I like them. I hope this albums lives up. I will dare is really good. Very catchy chorus. I’ll probably be playing that chorus in my head for a few days. Favorite thing is really good. I already knew this song, and I already knew I like it a lot. We’re coming out is also really good. It’s kinda cool how the whole attitude of the song changes partway for a second. Tommy gets his tonsil out is also great. The rip rip part is really fun. Androgynous is really cool. The choice to use piano instead the loud guitars used so far was a good choice for the song topic. Also, that “love each other so, androgynous” is gonna be stuck in my head for a looong time. Black diamond has really good guitar riffs. Great song. Unsastisfied is also amazing. So far there hasn’t been a bad song on this album, which is crazy. The vocals on this song are great. The instrumental at the beginning of seen your video was so good I assumed the whole song would be instrumental. I usually don’t love instrumental songs, but that instrumental part was REALLY good. And the vocals at the end are super good as well, which is unsurprising at this point. Gary’s got a boner has awesome guitars. The solos after the choruses are so incredibly good. Sixteen blue has great lyrics. Captures the confusions of being a teenager very well. Answering machine is also great. It’s really sad but in a weird way, which is exactly the kind of sad I like in music. 20th century boy is the first song which wasn’t included in the original albums. It’s good. Not much to say. One of the weaker songs. Perfectly lethal is great. After the previous song, I was worried the rest of the album would be disappoint, but this song is on par with the main album. Temptation eyes has a really good chorus. Not as good as that one line in androgynous, but close. Answering machine - solo home demo is interesting. Answering machine was probably one of my favorites, and the crappy microphone used in this version helps set the mood the album was going for. However, it’s one person. Meaning there are no drums. I’m not crazy about drums, but nobody can deny they are very important. However, the song is still really good, and I like the bad microphone, so it’s still amazing. Maybe a little bit worse than the original. Heartbeat is a lovebeat has such a catchy chorus. This one will be stuck in my head along side many others from this album. This version of sixteen blue is pretty much the same level of quality in my opinion. Which is good. Overall: wow, another album I really like. I was excited for this album and it exceeded my expectations. It’s so so so good.

Ijfkgfm Z

Maybe the most consistent Replacements album I've heard so far. Excellent in its rawness and emotion, blending nicely into more experimental territory. It's also fun but not overly goofy and still serious enough to leave a lasting impression. The inclusion of the KISS cover is interesting but it works and makes sense. I would call this another landmark album for 90s emotional hardcore.