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Pleased to Meet Me

4.7 out of 5 stars 78 customer reviews

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Audio CD, October 25, 1990
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Editorial Reviews

Product Description

While some continue to champion the Replacements' Don't Tell a Soul and All Shook Down exit albums, Pleased to Meet Me truly represents the last vital effort of a great band beginning its descent. The first album released after founding lead guitarist Bob Stinson's official departure, Pleased nevertheless retains plenty of the Mats' innate punky drive, albeit here more focused and tempered. Group avatar Paul Westerberg feuded with Memphis producer Jim Dickinson (brought in because of his production of Big Star's melancholy classic Third/Sister Lovers) over what he considered Dickinson's civilizing touches. In retrospect, however, the brass-and-string flourishes on the catchy coda "Can't Hardly Wait" and the more disciplined drumming of Chris Mars make Pleased a more comfortable reconciliation of the group's raw roots and musical maturity. --Steven Stolder
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Product Details

  • Audio CD (October 25, 1990)
  • Original Release Date: July 7, 1987
  • Number of Discs: 1
  • Label: Sire Records
  • ASIN: B000002LB9
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (78 customer reviews)
  • Amazon Best Sellers Rank: #79,469 in Music (See Top 100 in Music)

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Top Customer Reviews

Format: Audio CD
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.
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Format: Audio CD
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.
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Format: Audio CD
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).Read more ›
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