Welcome to “Where to Start”! As always, we’ll be guiding you through the back catalogue of established bands - both obscure and relatively well known - and covering their best, worst and most middling cuts. We’ll be dividing the bands’ output into five categories: Start Here, Follow Up, Try This, For Fans Only and Avoid. This month: The Replacements.
Birthing from the Minneapolis, Minnesota hardcore punk scene in 1979, The Replacements are considered to be one of the inspiring keystones for alternative rock. The line up for the majority of their career included guitarist/vocalist Paul Westerberg, guitarist Bob Stinson, bassist Tommy Stinson and drummer Chris Mars. This lasted up until 1986 after Bob Stinson was kicked out for creative differences and substance abuse (which was ironic as the other members took part in similar excesses). Bob ‘Slim’ Dunlap would take Stinson’s place, whilst Steve Foley replaced Chris Mars as the quartet’s drummer in 1990. Yet, they eventually called it a day in 1991, after over a decade long, seven album worth career. Following this, the band’s members would pursue various musical projects. Additionally, original guitarist Bob Stinson and second drummer Foley would unfortunately pass away from drug related incidents; The former in 1995, the latter in 2008.
It wasn’t until 2012 that The Replacements would resurface. Westerberg, Tommy Stinson and Chris Mars recorded the 2013 ‘Songs for Slim’ EP, which was named as such to help raise funds for former bandmate Slim Dunlap, who suffered a stroke. Apart from Mars, the band would play a number of shows in the U.S., Canada and Europe. Filling out the rest of the line up was current Weezer and The Vandals drummer Josh Freese, and on guitar, The Neighbourhoods’ Dave Minehan. This would last from 2013 to 2015.
With the history now laid out, let’s delve into the music itself. Stylistically, The Replacements began playing tongue in cheek, raucous post punk and hardcore, which eventually evolved into the renowned heart on sleeve punk influenced rock songs they became known for. According to The Winter Passing’s Rob Flynn, “their ability on the earlier records to combine catchy hooks with scrappy punk songs” was what made them an “intriguing” band to listen to. Furthermore, Flynn concludes that such a legacy “pretty much defined an entire underground generation”.
It should be added though that The ‘Mats were not only inspiring for singing, or yelling, honest self disparaging lyrics amid melodious gritty punk tunes, but their reputation as an unpredictable live band had a lasting imprint as well. Sometimes the band would be intoxicated on stage and trash their instruments, other times, at their most sober, they were cited to be a thrilling watch. Either way, such a combination of “snottiness, smarts, angst and urgency” was what made Beach Slang frontman James Alex want to be in a band in the first place. To Alex, “the thought of screaming with a guitar”, as exemplified by the Minneapolis band, “felt like power, like the thing I’d been looking for”. The awe displayed here is one of many accounts by those inspired by the band across the globe. Make no mistake, The Replacements were the real deal.
Start Here: ‘Let It Be’
Released in 1984, right off the bat, ‘Let It Be’ established the angst yet melodic aesthetic The ‘Mats were known for. With their third album, The Replacements wanted to craft songs that were a “little more sincere” than their early raucous punk output. Such objectives were achieved with terrific results.
So why then do I consider this to be the must have record in their discography? Well, to begin with, I would struggle to find anyone who doesn’t latch on to opening track ‘I Will Dare’. It whisks you with brisk melodious chords into twirling 50’s rock ‘n’ roll aplomb, before the final third is led with a delightful mandolin. From then on, what you get is a journey themed with coming-of-age tales in a varied alt rock backdrop. For example, the hardcore tinged ‘Tommy Gets His Tonsils Out’ is tongue in cheek, whilst the piano led LGBT anthem that is ‘Androgynous’ displays a melodic weariness. Such variation in mood shows a respect for the lyrical content involved in each track.
Furthermore, ‘Let It Be’ is chocked full of classic cuts from start to finish. One particular highlight, and quite possibly one of the most beautiful songs you’ll ever hear, is ‘Unsatisfied’. Upon dazzling acoustic notes, Westerberg sings a tale of woe in the most genuine way possible. Generally speaking, this incredible album of heartfelt college rock is the necessary introduction to this band.
Follow Up: ‘Tim’
If ‘Let It Be’ captured The Replacements’ essence, then follow up album ‘Tim’ dug deeper into their souls. Their fourth effort and major label debut saw the band delve further into melodic territory, restraining their boisterous side. While on the one hand this led to guitarist Bob Stinson being sacked a year later in 1986, as he resisted this melodic expansion, it resulted in The Replacements crafting a heart wrenchingly solid record.
Opener ‘Hold My Life’ establishes this tone from the start, with it’s self reflective lyrics and brisk urgent structure. From here, the band continue to resonantly execute anthems for the alienated and solitary. ‘Left of the Dial’ is a love letter to one’s early 20s, whilst ‘Bastards of Young’ is a grit fuelled rally for the misfits. To put it bluntly, through the penmanship of Westerberg, ‘Tim’ analytically clicks with the weary minded.
That’s not to say they take themselves too seriously here. As previously stated, The Replacements do restrain their early tongue in cheek nature, yet don’t abandon it completely. ‘Dose of Thunder’ for instance revels in ragged levity, whilst ‘Kiss Me on the Bus’ is a 50s swinging pop gem cleverly balancing smart alecness and a nervous yearning. In other words, The Replacements are fun when one of their songs requires it. However, with ‘Tim’, the band wanted to burrow further into their vulnerable nature, which led to profound results.
Try This: ‘Pleased to Meet Me’
What many regard to be the last “true” Replacements album, this fifth effort sees the band at their most “professional”. There’s certainly a slicker feel to the production values as done by Jim Dickinson, yet it doesn’t hinder The Replacements’ spirit. Hard rocking punk hits like ‘IOU’ and the sax pumping ‘I Don’t Know’ affirm this with gusto. Another example of such retained familiar vigour is ‘Alex Chilton’, a tribute to the Big Star frontman himself. It screams everything to love about this misfit act, including a killer chorus, but it has an amped up stadium like sheen to it.
Like the albums before it, the band do find time to wind down and reflect from the drunken highs. The jazzy ‘Nightclub Jitters’ and acoustic glitz of ‘Skyway’ remedy this notion. Once refreshed, this band goes straight back into the habit with sleazed filled numbers like ‘Shooting Dirty Pool’.
One critique is that the loss of guitarist Bob Stinson (kicked out in 1987 over creative differences) is felt here. Tracks like ‘Valentine’, whilst solid, do feel like they’re missing an extra boost to make them stellar, especially since this was the one album where the band played as a trio. On the other hand, this opened the door for The Replacements to expand their sound a tad further. For instance, ‘The Ledge’, the video for which was banned on MTV for it’s controversial lyrics, is a psychosomatic post punk cynical outlook on fame. Meanwhile, ‘Can’t Hardly Wait’ is a warm glowing anthem, bolstered by horns and strings. All in all, there is a fine balance between the familiar and the new making ‘Pleased to Meet Me’ a satisfying listen to this closing chapter of the band.
For Fans Only: ‘Sorry Ma, Forgot to Take Out the Trash’
Now we’ve reached that point of the guide, the album which hardcore fans would enjoy, whilst the average joe would shrug off. It would’ve been easy to choose the off kilter second album ‘Hootenanny’, but it has a certain charm to it. This leads us to talking about The Replacements’ debut, ‘Sorry Ma, Forgot to Take Out the Trash’. Released in 1981, this album leant towards the band’s early hardcore punk antics. Compared to their contemporaries at the time, The Replacements stood out as their take on the genre was a boisterous mix of sloppy, tongue in cheek rock ‘n’ roll.
Songs like ‘Takin’ a Ride’ and ‘Customer’ are an appealing example of this with their scrappy sense of fun. Yet, it is understandable if the average person would rather listen to the deeper cuts of later efforts. However, in rebuttal to this, the potential for those works do creep in on the album’s latter half. ‘I’m in Trouble’ and ‘Don’t Ask Why’ showcase that sense of angst, cynicism, poppy undertones and no nonsense, elements that would morph them into the band we all love. Overall, whilst a solid entertaining romp, ‘Sorry Ma…’ is by no means an essential piece to all time lists…unless you’re a completionist of course.
Avoid: ‘Don’t Tell a Soul’
As previously mentioned, some consider ‘Pleased to Meet Me’ as the last “true” Replacements album. So how is this so? The statement does have a point in regards to last album, ‘All Shook Down’, which is technically a Paul Westerberg solo record due to him being the only original member on it. However, the preceding album ‘Don’t Tell a Soul’ featured a good chunk of the original members, besides Bob “Slim” Dunlap, who replaced the aforementioned Bob Stinson. So why then has it been placed here as The Mats’ worst?
Before we dissect the LP, it should be noted that Westerberg wasn’t happy with the finished product. Indeed, ‘Don’t Tell a Soul’ feels like a muddied, overly polished album. It was the band’s most radio friendly release, and this shows on the likes of “Back to Back” and “We’ll Inherit the Earth”. The former comes off as muddled, whilst the latter meanders, thus creating a seemingly dull experience. In fairness there is a lingering charm trying to break out. For instance, “Achin’ to Be” and “They’re Blind” show the enduring strength of Westerberg as an introspective lyricist. Additionally, lead single “I’ll Be You” is a delightful ballad, despite it’s failure to break the top charts. On the other hand, ‘Don’t Tell a Soul’ is simply a near forgettable piece, bogged down by a foggy, directionless atmosphere.
All in all, I hope this five album guide into the introspective gritty work of The Replacements has enticed you to listen to the band. As a band they were inspiring to many because of their sincere honesty and tenacious spirit. So if you do get the chance after reading this to listen to their work, I hope The Replacements have the same effect on you, the reader, as the people they’ve inspired the world over.