Customer Reviews

Pleased to Meet Me

5 star:		(53)
4 star:		(9)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

Not a perfect album, but one of their best. Bob Stinson was a big loss to the 'Mats, but his absence freed them to try things he would've vetoed. Some of the experimentation doesn't hold up anymore - Westerberg himself hates the strings on "Can't Hardly Wait" - and the polished, echoey sound feels a bit dated, but this is still a great collection of songs. Less punk and more power pop, it's generally more 'mature' and less shambolic than anything they've done before.

This new reissue from Rhino is pretty solid and nearly fills out the disc with bonus tracks - the LP's original running time was about 33 minutes, and this new CD clocks in at about 70 minutes.

The alternate versions for "Alex Chilton" and "Can't Hardly Wait" (both previously unreleased) aren't that impressive - they're not better than the album versions, but they let you hear these songs with less overdubs, etc.

Four tracks were previously issued as B-sides; one, "Election Day," is still available on "All For Nothing/Nothing For All," but on this reissue there's a brief drumstick count-off at the beginning. The other three tracks ("Route 66," "Tossin' n' Turnin'," "Cool Water") are covers, and this reissue brings them back in-print. I wouldn't call the B-sides great, but they have their charms, particularly "Election Day," which sounds like a swarm of out-of-control slide guitars.

The demos are a mixed bag. "Valentine" isn't bad, but again, it doesn't surpass the album version. It's basically a rawer version of a great, great song. "Bundle Up" is really an early version of "Jungle Rock," an outtake on "All For Nothing/Nothing For All." Never a great song, "Jungle Rock" was still a charming throwaway, and the same can be said of "Bundle Up." "Kick It In" is pretty catchy - again, not a great song, but I find it pretty enjoyable.

Then you have two stunners: "Birthday Gal" and "Photo." Both songs would've been great additions to the album proper, but I'm not even sure the latter made it past the demo stage, and the former was simply left in the can (a stronger version of "Birthday Gal" - a polished outtake - can be found on "All For Nothing/Nothing For All"). "Photo"'s a great love song, with a nice guitar hook following each chorus, and "Birthday Gal" kind of foreshadows their new direction over the next two albums (one that would produce diminishing results). A lost classic, it's startlingly poignant for the chorus ("Birthday gal, do you wish there weren't quite as many candles that you had to blow?"). On this version, Westerberg strums on an electric guitar, but his reading is a bit unsteady - he gets better towards the end, when he sounds pretty raw and unguarded, but this is definitely a demo. (His vocal on the all-acoustic outtake featured on "All For Nothing/Nothing For All" is stronger and much more affecting.)

Now for the mastering: I know some fans would disagree, but to be honest, I never thought the original CD sounded bad - this album was a very dynamic, digital recording, and the original disc was a good representation of that. Rhino's reissue is louder and not quite as dynamic, but it's not a distorted, squashed mess. It still sounds pretty good, and that's especially true for the bonus tracks - some of those songs have only circulated as cruddy-sounding bootlegs (albeit in different takes, but it's hard to tell when the sound quality of the bootlegs is that bad). So finally, we get a gem like "Photo" in sparkling clear sound.

I've heard some people complain about a glitch at the beginning of track 11, "Can't Hardly Wait," as well as a clipped opening on track 6, "Never Mind, on which they (slightly) clipped the first note. I honestly didn't catch these the first time around and barely notice them myself, but just so you know, some people have complained.

Also, like Rhino's other 'Mats reissues, they put in some sound effects right before the bonus tracks - basically, you hear a door slam shut, some jangling keys and footsteps, and then another door opening, like a guy walking over to a locked door and opening it. Cute idea, some people like it, some don't.

The greatest "rock and roll" record of all time? This is as close to making a properly produced Stones album as the boys would dare. Paul wasn't a combination of Mick and Keith, he was more like Keith without the Mick. They (intentionally) lacked the stylistic showmanship that would make them that big. They were more stagger than swagger, and the fact that they could do an album this perfect sounding proved what the fans knew already: they had it in them.

I feel sorry for those who believe this to be the beginning of the end for the band. This album actually shows the boys writing several songs together, and the production may be dated, but by 1980's standards it isn't overdone at all. What I think of first when reflecting on this album is that Bob's "removal" was a blessing in disguise: who knew Paul could play guitar this good? Although I love Slim Dunlap, I simply don't know why they bothered to get a fourth person. This album has the best guitar playing of all their albums. The solo at the end of The Ledge? Skyway's delicacy? I.O.U. demonstrating that the crunch didn't follow Bob out the door

The variety of styles on this album is also surprising. Nightclub Jitters perfectly reproducing that intimate and cheap setting, the studio sing-along trash of Red Red Wine, the pop brilliance of Alex Chilton and Valentine. Skyway is the greatest American standard that no one's ever heard, a classic in every sense of the word. And the lyrics feature some of Paul's greatest lines, Can't Hardly Wait possibly being his finest hour. I Don't Know tells you the band's lack-of-mission statement is the same as it ever was.

I disagree with the previous poster taking Chris Mars drumming to task. I love the snap crackle pop sound of the drums on this album. I can't help air drumming along to Valentine every time I hear it. Let's not forget the album cover's lifting of Elvis' G.I. Blues lettering, and the original dustjacket's photo collage. And how many bands managed to utilize a horn section without overusing it (like the Stones)?

One more thing to add in defense of this time period in the band's history: the All For Nothing/Nothing for All compilation shows all the great B-sides from the 1986 Ardent sessions, more than enough to have made this a double album a la Exile on Main Street. But that would have been too ambitious...

How could The Replacements not take themselves seriously? Don't get me wrong, I'm glad they never did, but when you're capable of music this wonderful, you would think it would go to your head. I guess that was the magic of the band--greatness wrapped in self-doubt. The songs here are perfect--some rowdy, some touching, all heartfelt. How can you not love an album with lyrics like, "If you were a pill, I'd take a handful at my will/And I'd knock you back with somethin' sweet and strong"? I've never heard "love" described better. And I've never heard better music than this.

We've all heard this cliche before: "This album changed my life." Usually it's in the context of the classic rock albums the baby boomers prefer. Well, this is the album that changed my life, and maybe had the same effect on our generation -- the group of us who were born after the baby boom but before the "generation X" group, that late 50's, early 60's crew who blessedly have been forgotten by the trend-setters and marketing pros(as a result, we've made our own rules). Anyway, I digress. Anyway, let's with my review -- by '87, the '80s were getting pretty boring. The music was about the only interesting thing going. The whole "yuppie" culture was not for me --never was. I couldn't afford the exceesses and didn't see the point in pursuing them. Paying the bills and being able to see and buy music was enough for me and my friends. Along comes "PTMM." I "fell in love" with the album on my first listen not only because of the incredibly catchy but rocking music (you gotta listen to understand what I mean), but the whole rebellious, but realistic nonconformist attitude that it proclaimed. Paul and the guys didn't waste time on the "let's take over the world and have a revolution" punk attitude. Rather the album has a more "We don't have to do things your way" rebellion. It changed my attitudes toward a lot of the things people thought were imporatnt back then, but in an entertaining "Let's party" kind of way, rather than heady,boring, folk-singer introspection. The album has its quieter, introspective moments, however. "Skyway" is a beatiful ballad (and served as a great lullaby sung to my son years later when I became a mom). Contrast that, hovever, with the raucousness of "Shooting Dirty Pool" and you have an idea of the scope of this album. The other songs are between these exteremes and are all great, even 11 years later. Sometimes I listen and think "Has it really been 11 years since this album came out?" It sounds that fresh. It made me a Replacements (and subsequent solo career) fan to this day, and enabled me to develop frienships which have lasted through the years with others of "like mind" I suppose. Back then it was the Replacements and where are we going to see bands this weekend. Now it's home-buying, husbands, and figuring out where all the laundry comes from. But "PTMM" still sounds great -- not only because of the great memories, but because the attitudes embodied in the lyrics and the music still hold true, even though the scenery in our lives has changed for the most part.

PLEASED TO MEET ME: A track By Track Appreciation (I haven't listened to it in a while, and this sorta got me thinking wistfully about it. . .)

SIDE ONE (The Good Side)

1) I.O.U. A slamming punk stomper. Sounds like a statement of purpose to prove they can still rock after firing lead axeman Bob Stinson--a move many fans never forgave. Actually, the weakest song on the record.
2) Alex Chilton--perfect ragged power pop paen to alt rock patron saint. ("I never travel far/Without a litte Big Star"). If you were cool, you couldn't escape this song in 87-88.
3) Nightclub Jitters--cool change of pace with this cocktail jazz inflected slow burner
4) I Don't Know--boredom and ennui collide with a stripped to the bones rocker punctuated by Teenage Steve Douglass' sweet baritone sax bleats.
5) The Ledge : tense suicide suicide note where Westerberg's spiraling guitar is as tightly wound as the narrators emotions.

SIDE TWO (The even better side --and yes, like in the old days, a record with distinct sides)

1) Never Mind: Great power popping, heart-on-the-sleeve love song. And it rocks in an endearingly sloppy sorta way.
2) Valentine: more of the the same with great lines thrown out like they come from an endless stream("Well you wish upon a star/That turns into a plane". . . "If you were a pill/I'd take a handful at my will/and knock you back with somethings sweet as wine).
3) Shooting Dirty Pool. Down and dirty rocker--a great illustration of how Jim Dickinson's production is perfect for this record--the bass is muddied, the treble in the guitar is jacked up and the drums are given a huge, sledgehammer whallop. The song itself isn't Westerberg's best, but the sound is great--a wonderful change-of-pace album cut.
4) Red Red Wine (not the Neil Diamond classic but another searing rocker that just sounds balls-out perfect at Max volume).
5) Skyway: Out of nowhere, Westerberg slows down for his most beautiful solo-acoustic ballad. A simple heartstopper, whispered over a delicately picked guitar figure. A million lovesick teenage boys made mix tapes for unattainable girls in the late 80s. This song figured prominently in 94% of them.
6) Can't Hardly Wait: A hopelssly romantic pop-rocker over another bubbling guitar line and a swinging rhythym section. The chorus totally gushes and although some people hate them , I LOVE, LOVE, LOVE the Memphis Horns on the backing part. A perfect end to what is, to me, a perfect record.

Overall, my favorite mats record. There might be more peaks on Tim (Bastards of Young, Left of the Dial) or Let it Be (I will Dare, Unsatisfied, Answering Machine), but there are also some valleys there as well.

No band has been more unlucky not to achieve world fame than the Replacements since their rambunctious and catchy rock n'roll seemed positively condemned to success almost from day one.

Somehow they never did manage to play in the major leagues as far as popularity and sales are concerned but they left behind and enormously enjoyable back catalogue rivalled only by the other great american band of the 80's-Husker Du.

But the Replacements typical song wasn't as frenzied and angry as one from the Huskers usually was nor was it weird and inscrutable as one from the Pixies tended to be.

In comparison they were even radio friendly but somewhere along the way their legendary booze fueled stage antics,Kiss covers and general carelessness lead the mainstream audience to disregard them as a serious concern.

Yet in terms of what really counts-the quality of the music-their worth is undeniable being"Pleased to meet me"one of their best albums,possibly falling slightly shortof"Let it Be"and"Tim"but still up there with their best efforts.

Top Cuts-Alex Chilton,The Ledge,Skyway.

I'm a fan of this band, have been since the early 80's when I heard "Take Me Down to the Hospital" and the rest of Hootenanny. Most folks point to Let it Be or Tim as their best work, and those are certainly outstanding. But I'm here to tell you that Pleased to Meet Me was the band's best album. There are a lot of really great high points on this record, some obvious and some subtle: from the bluegrass-ish high harmonies toward the end of the otherwise unrepentantly slamming "IOU", to the place on "Can't Hardly Wait" where the band goes silent, Westerberg pauses, and then cries out "I can't wait!". The thing that makes this the Replacements' best album is that every single song has some sort of sublime moment (or two or three) that'll get under your skin if you let it.

This is a truly great rock 'n' roll record.

What can be said about his album aside for the fact that it showcases Paul Westerberg's immense genius as a songwriter and the fact that Tommy Stinson and Chris Mars added their two sense. This album has got to be the best I have heard in the last ten years. Even softer songs like "Nightclub Jitters" and "Skyway" have a raw and catchy side to them. Don't wait! Pick up now!

Some people will tell you "Tim" or "Let It Be" are the best Replacements albums. NOPE! While both of those albums should be in the top 50 albums of the 80's, this is the best. Both of the previously mentioned are just a little bit uneven with a couple of throwaway tunes, but not Pleased to Meet Me.

This band was almost totally overlooked by the mainstream, what a shame. This album should be essential listening for anyone who loves rock 'n roll. From the punk-pop of 'IOU' to the blistering sax of 'I Don't Know' and the tender side of Paul Westerburg on 'Skyway'. This CD doesn't have any filler.

If you have seen the teen flick 'Can't Hardly Wait', remember the end of the movie when the credits are rolling? Well the song of the same name is playing at that time. This great tune is also on the CD.

If you have found the music of today totally blandless with a few exceptions, do yourself a favor and pick this up. You won't be sorry.

"Pleased to meet me" is the best rock and roll album ever made! Paul Westerberg is the greatest singer/songwriter in rock and roll. Buy this CD, you will love it!!