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DISCID=9607d90b,9907d90b
DTITLE=The Replacements / Let It Be
DYEAR=1984
DGENRE=Rock
TTITLE0=I Will Dare
TTITLE1=Favorite Thing
TTITLE2=We're Comin' Out
TTITLE3=Tommy Gets His Tonsils Out
TTITLE4=Anadrogynous
TTITLE5=Black Diamond
TTITLE6=Unsatisfied
TTITLE7=Seen Your Video
TTITLE8=Gary's Got A Boner
TTITLE9=Sixteen Blue
TTITLE10=Answering Machine
EXTD=1984 Twin/Tone Records TTR 8441-2\n\nOriginally Released 1984\nTw
EXTD=inTone Records CD Edition Released 1989\nRestless Records USA CD 
EXTD=Edition Released September 2002\n\nAMG EXPERT REVIEW: The Replace
EXTD=ments half-heartedly tried to expand their reach on Hootenanny, a
EXTD=nd they followed through on that album's promise on Let It Be. Ki
EXTD=cking off with the country-rock shuffle of "I Will Dare," the rec
EXTD=ord explodes into a series of pseudo-hardcore ravers before hitti
EXTD=ng Paul Westerberg's piano-driven rumination, "Androgynous," one 
EXTD=of four major ballads that cuts to the core of Midwestern suburba
EXTD=n alienation. "Sixteen Blue" is one of the definitive teenage ant
EXTD=hems of the '80s, while "Unsatisfied" rages in despair and Wester
EXTD=berg rarely was more affecting than the solo performance of "Answ
EXTD=ering Machine." All four, along with "I Will Dare," form the core
EXTD= of Westerberg and the Replacements' canon, and are enough to mak
EXTD=e Let It Be a cornerstone post-punk album, even if the rest of th
EXTD=e record pales next to the songs. All the remaining songs are con
EXTD=vincing garage rockers, even if they reveal the Replacements' for
EXTD=mer punk stance to be a bit of a pose -- a cover of Kiss' "Black 
EXTD=Diamond" comes off as a tribute, as does the co-opting of Ted Nug
EXTD=ent's "Cat Scratch Fever" for "Gary's Got a Boner." Furthermore, 
EXTD=the original numbers lean toward the Faces, leaving the Ramones b
EXTD=ehind, and while everything except "Seen Your Video," which now s
EXTD=ounds as dated as a "disco sucks" rant, consists of bracing rocke
EXTD=rs, they're a bit inconsequential and point the way toward the ba
EXTD=nd's deadly fascination with classic rock. -- Stephen Thomas Erle
EXTD=wine\n\nAmazon.com essential recording\nOn their first releases, 
EXTD=even amid all the smirking irreverence, the Replacements seemed t
EXTD=o have more ambition than other post-punkers, but it wasn't until
EXTD= Let It Be that they actually realized it. There's still plenty o
EXTD=f smirking here--"Seen Your Video" is a great snotty taunt--but t
EXTD=here's also smartly-crafted pop like "I Will Dare" and not-quite-
EXTD=love songs like "Answering Machine," not to mention a rocking cov
EXTD=er of uncool Kiss that's played perfectly straight. This is class
EXTD=ic, all-over-the-board indie rock, especially the angst-ridden em
EXTD=pathy of "Sixteen Blue," where Paul Westerberg, all of 23, rememb
EXTD=ers just how it is to be a teenager. --David Cantwell \n\nAMAZON.
EXTD=COM CUSTOMER REVIEW\nPossibly the finest punk / Alternative recor
EXTD=d ever, April 1, 2006\nReviewer: Bart McGowen (Evanston, IL)\nThe
EXTD= Replacements were one of the 5-10 greatest rock bands ever. This
EXTD= is arguably their greatest album. \n\nTheir entire career (1981-
EXTD=1991) was sadly during the era when radio was dominated (oblitera
EXTD=ted..) by the retro "Classic Rock" format. As a result, the 'Mats
EXTD= were never heard by most people. Their legacy is the dozens of m
EXTD=ajor bands who, by their own admission, owe part or all of their 
EXTD=sound to the influence of the Replacements ( including: Nirvana, 
EXTD=Wilco, Goo Goo Dolls...) \n\nIf you are a fan of punk, grunge, or
EXTD= Alt Rock, you should own this record. \n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW\nEverything about this album is fantastic - you will LOVE th
EXTD=is!, January 7, 2006\nReviewer: C. Cross "music lover" (New Haven
EXTD=, CT USA)\nThe Replacement's "Let It Be" is simply a GREAT album 
EXTD=which I think is arguably better than their follow-up "Tim" (that
EXTD= album had about 5 or 6 great songs, but the rest was relatively 
EXTD=hard to listen to and like). Every song here is a punk/indie rock
EXTD= classic, and the album has a variety of uses. It's great to exam
EXTD=ine each song, play on high volume, or even keep low as backgroun
EXTD=d music. It comes close to being unlikable, but they somehow mana
EXTD=ge to keep it comfortable and appealing all the way through. The 
EXTD=interesting part about that is that a lot of it's punk rock-influ
EXTD=enced indie rock which would normally drive people away, but they
EXTD= somehow manage to make every song fun for most people. Paul West
EXTD=erberg's voice is also way better here than it is on "Tim" (his v
EXTD=oice was arguably unlikable on most of the songs on that album). 
EXTD=Musically it seems pretty standard in today's world, but back in 
EXTD=the 80's it was something very new and original - its historical 
EXTD=influence certainly adds to its rating and value. This is an albu
EXTD=m that punk/indie rock fans and most people will really really li
EXTD=ke - highly recommended! \n\nAMAZON.COM CUSTOMER REVIEW\nDoesn't 
EXTD=get much better than this, December 31, 2005\nReviewer: Daniel Ma
EXTD=ltzman (Arlington, MA, USA)\nTruly one of the greatest American r
EXTD=ock bands of the 1980s, the Replacements spent much of their care
EXTD=er just under the radar of the consciousness of the mainstream. W
EXTD=hile the band built up a loyal following throughout the Reagan ye
EXTD=ars, the 'Mats never broke through the way other college favorite
EXTD=s like REM or The Red Hot Chili Peppers did. While the band offer
EXTD=ed some of the best music of the decade and while they were later
EXTD= signed to a major label and even appeared on Saturday Night Live
EXTD=, true recognition and praise eluded them in their day. But while
EXTD= the band never managed to enjoy a real cross-over hit with the m
EXTD=ainstream, they remained a cult favorite throughout their existen
EXTD=ce. \n\nThe 'Mats early albums boasted raucous punk that was auth
EXTD=entic and memorable, but a far cry away from the best work the ba
EXTD=nd would offer. While the Minneapolis quartet's first three relea
EXTD=ses "Sorry Ma, I forgot to take out the Trash," (1981) "Stink" EP
EXTD= (1982) and "Hootenanny" (1983) showed much promise, it was the b
EXTD=and's fourth album "Let it Be," (1984) that saw the band reach th
EXTD=eir full potential. The Replacements "Holy Trinity" of albums, "L
EXTD=et it Be," "Tim," (1985) and "Pleased to Meet Me" (1987) saw sing
EXTD=er/songwriter Paul Westerberg blossom as a writer, churning out h
EXTD=is most memorable work. \n\nWhile "Let it Be" has the punk aesthe
EXTD=tics of its predecessors, the songs are more refined and crafted.
EXTD= While "Let it Be" isn't overtly commercial or has any singles th
EXTD=at scream "HIT" written on them, the album was up to this point t
EXTD=he band's most assessable offering. To get right to the point, "L
EXTD=et it Be" is just a great album. Track after track, each song is 
EXTD=memorable and well structured with an infectious hook, killer gro
EXTD=ove and keen sense of melody. Westerberg, Bob Stinson, (guitar) T
EXTD=ommy Stinson, (bass) and Chris Mars (drums) struck the perfect ba
EXTD=lance between finely crafted songs and anarchic, unrestrictive pu
EXTD=nk. The band is loose and hungry, but also meticulous, making sur
EXTD=e the album is raw and organic, but without sounding sloppy. \n\n
EXTD=With "Let it Be" Westerberg really honed in as a lyricist. Songs 
EXTD=of alienation, dissatisfaction, frustration, and problems with in
EXTD=terpersonal relationships are the prevailing themes. And while th
EXTD=ese are the prevailing themes with many, many bands, Westerberg s
EXTD=ounds authentic and the listener can really sympathize with his p
EXTD=light. While he sounds genuinely distraught, he never indulges in
EXTD= self-pity or drains the listener. There is nothing forced or con
EXTD=trived about the feelings he is trying to convey. All the while W
EXTD=esterberg has a real sense of humor as songs like "Tommy gets his
EXTD= Tonsils Out" and "Gary's got a Boner" would suggest. \n\nThe ope
EXTD=ning mid-tempo "I Will Dare" is probably the album's best song, i
EXTD=f not the greatest Replacements track ever recorded. Estrangement
EXTD= and unrequited love but with a sense of hope seem to be the prev
EXTD=ailing theme. Tommy Stinson's sparse bass over the lush playing o
EXTD=f Westerberg, Bob Stinson, and guest guitarist Peter Buck (of REM
EXTD=) make this song a triumph. "Favorite Thing" goes at an almost ma
EXTD=nic pace and has a real sense of urgency, as Westerberg tells of 
EXTD=his affection for the one he loves. "Were Coming Out" may have be
EXTD=en a contender for "Hootenanny" as this punk-rocker is somewhat c
EXTD=haotic, but without loosing structure. The light piano offers a n
EXTD=ice touch. "Tommy gets his tonsils out" is also reminiscent of th
EXTD=e Replacements early work, as this humorous punk number tackles t
EXTD=he bassists' fear of going to the dentist. The album takes a comp
EXTD=lete left turn for the bizarre "Androgynous," a melancholy piano 
EXTD=balled dealing with the issue of sexual identity and self-accepta
EXTD=nce. A cover of KISS's "Black Diamond" stays pretty true to the o
EXTD=riginal, while giving it a bit of a punk-make-over. Perhaps the m
EXTD=ost earnest song on the album "Unsatisfied" articulates the frust
EXTD=ration one feels with the emptiness of an unfulfilled life. A pok
EXTD=e at MTV, the mostly instrumental "Seen Your Video" shows the ban
EXTD=d cut loose and just rock out. Bob Stinson shows his fee-wheeling
EXTD= skills over this catchy little ditty. The humorous "Gary's Got a
EXTD= Boner" is somewhat like "Tommy gets his tonsils out" and is some
EXTD=what reminiscent of Ted Nugent's "Cat Scratch Fever." A morose pl
EXTD=ight detailing teenage angst, "Sixteen Blue" is gentle and bitter
EXTD=sweet, yet rough-around-the-edges. The almost exclusively guitar 
EXTD=closing track "Answering Machine," while very sparse and stripped
EXTD= down, is quite effective. The song's theme, longing frustration,
EXTD= sums up the premise of the album in a nutshell and makes for the
EXTD= perfect closing number. \n\nReleased over twenty years ago, "Let
EXTD= it Be" has aged quite well. It sounds as good and as poignant to
EXTD=day as it did in 1984. The themes of "Let it Be" are timeless. As
EXTD= long as there are humans on the Earth, people will long for comp
EXTD=anionship and meaning and be unhappy with their life. Bands like 
EXTD=Green Day, the Offspring, and countless others owe a lot to the R
EXTD=eplacements. \n\nAMAZON.COM CUSTOMER REVIEW\nPerfect, November 4,
EXTD= 2005\nReviewer: Daniel P. Regan\nI don't have the vocabulary to 
EXTD=express how important this album was [and is] to me. When you're 
EXTD=young, confused, angry, in unrequited love, fearful of the future
EXTD= but dissatisfied with the present, and anxious to get on with it
EXTD=, or any combination of these feelings, this album is a salvation
EXTD=. It conveys all those feelings and more. I still listen to it, s
EXTD=tart to finish, every track, to this day, 20+ years later. Thank 
EXTD=you, Replacements.\n\nAMAZON.COM CUSTOMER REVIEW\nSome filler but
EXTD= a good rock album nonetheless, August 8, 2005\nReviewer: Timothy
EXTD=Farrell22 (Massachusetts)\nAlt / indie rock was at its best befor
EXTD=e it hit the mainstream and developed into the mostly horrific ge
EXTD=nre known as grunge (Nirvana, Mudhoney, and Soundgarden are a few
EXTD= of the good bands in the genre). Alt rock isn't the mainstream b
EXTD=ands such as U2 and REM that get labeled it, but the independent 
EXTD=bands who never really mainstream sucesses but had huge cult foll
EXTD=owings. They were truly the alternative to the horrible hair meta
EXTD=l and pop that ruled the airwaves at the time. One of the best, i
EXTD=f not the best, bands to come out of the movement was definatly t
EXTD=he Replacements. "Tim" is probably their best album, but "Let It 
EXTD=Be" is a classic also, perfectly showing the transition between t
EXTD=heir early punk days and their later more power pop oriented year
EXTD=s. The album shows how diverse the band was, as they are equally 
EXTD=good at tackling punk ("We're Coming Out"), catchy pop-rock ("I W
EXTD=ill Dare"), and ballads ("Answering Machine"). The only problem w
EXTD=ith the album is there are a few tracks that are needless and ann
EXTD=oying filler. "Black Diamond" and "Garys Got a Boner" should've b
EXTD=een replaced. Overall, this is definatly a great if slightly flaw
EXTD=ed album thats worth buying.\n\nAMAZON.COM CUSTOMER REVIEW\nI lik
EXTD=e them more without Bob..., January 3, 2005\nReviewer: Mikey Scar
EXTD=s "www.masonsummers.com" (Maryland)\nI know this goes against eve
EXTD=ryone else's view on this album but I think it's just average as 
EXTD=far as the Replacements go. This may sound sacrilege to Mat's fan
EXTD=s everywhere, but frankly, I think the outstanding albums are the
EXTD= three after lead guitarist Bob Stinson's departure. I don't know
EXTD= if he held Westerberg back as a songwriter or if it's just a coi
EXTD=ncidence but for me the last three Mat's albums are where Westerb
EXTD=erg developed the song-writing style that I personally love the m
EXTD=ost. No offense to any Bob Stinson fans but that's my feelings on
EXTD= the matter. \n\nAs for Let It Be, don't get me wrong, it's kinda
EXTD= great but kinda horrible, just like The Replacements themselves!
EXTD= Now I love them but it's true. There's four songs I love on Let 
EXTD=It Be. It's very much worth having. But there is, in my humble op
EXTD=inion, lots of filler worth throwing out. Listen to the samples a
EXTD=nd see for yourself. \n\nAMAZON.COM CUSTOMER REVIEW\nOne of the b
EXTD=est of all time, December 1, 2003\nReviewer: A music fan\nThis al
EXTD=bum gets better with age. It is a visonary product whose influenc
EXTD=es are heard today. Put this one and you cannot tell that it is 2
EXTD=0 years old. The melodies are sweet, lyrics are rough as well as 
EXTD=humorous, sensitive and poignant. The album is produced just righ
EXTD=t, not too heavy, not too rough.....and the songs themselves rang
EXTD=e from the metal sound of the seventies, to the what rock ballads
EXTD= really should be. All in all it should be listened and celebrate
EXTD=d. THIS IS THE ALBUM THAT GOT THEM THIER MAJOR LABEL DEAL, but ev
EXTD=en the greatest hits of the Mats post Let IT Be cannot be more li
EXTD=stenable than this.\n\nAMAZON.COM CUSTOMER REVIEW\nSimply amazing
EXTD= jangle-punk, September 25, 2003\nReviewer: G. Kriston "Garret" (
EXTD=River Forest, IL)\n'Let It Be' was the album that The Replacement
EXTD=s had been working up to ever since 'Sorry Ma, Forgot To Take Out
EXTD= The Trash'. That album, along with 'Stink' and 'Hootenanny' were
EXTD= sloppy little piles of punk rock, and I mean that as a complimen
EXTD=t. But 'Let It Be' is pure perfection. The 'Mats are still a bit 
EXTD=sloppy in places, but they've evolved greatly. Every song is some
EXTD=thing special. Even what people call "throwaway material" or "fil
EXTD=ler" is amazing. There is everything from bouncy jangle pop to fa
EXTD=st hardcore to amazingly affective ballads to anti-MTV epics to f
EXTD=un little filler songs that are pure silliness . Hell, there's ev
EXTD=en a KISS cover on here. Paul Westerberg's writing on songs like 
EXTD="Answering Machine" and "Sixteen Blue" is just amazing. This is s
EXTD=imply one of the greatest albums made in the 80s and of all time.
EXTD= It isn't as shiny as their major label work, but it isn't as slo
EXTD=ppy and loose as their earlier albums. The Replacements everyone 
EXTD=from The Goo Goo Dolls to Nirvana to Sunny Day Real Estate. A gre
EXTD=at album for fans of punk or post-punk.\n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW\nA great CD by a great band, June 15, 2003\nReviewer: "still
EXTD=1071" (Chapel Hill, NC)\nThe Replacements have often been called 
EXTD=the Rolling Stones of the 1980s, and I think the comparison is ve
EXTD=ry appropriate. In fact, I would go so far as to call them the gr
EXTD=eatest rock and roll band of the '80s.\nLet It Be is their finest
EXTD= moment. There is an excellent mix here between knock down, drag 
EXTD=out rockers ("Black Diamond"; "Favorite Thing"; "We're Comin' Out
EXTD=") and beautiful, finely crafted pop ballads ("I Will Dare"; "And
EXTD=rogynous"; "Unsatisfied"). The latter songs are my personal favor
EXTD=ites; they clearly show what a fine craftsman of beautiful melodi
EXTD=es Paul Westerberg truly was.\n\nAlso of note on this album is th
EXTD=e kiss off to MTV called "Seen Your Video." A classic example of 
EXTD=period reaction to the changes occurring in music at the time fro
EXTD=m a fiercely independent band.\n\nAMAZON.COM CUSTOMER REVIEW\nPar
EXTD=king Lot Music vs. Water Polo Music, October 16, 2002\nReviewer: 
EXTD=James F. Colobus (Pittsburgh, PA United States)\nUnlike Patterson
EXTD= Hood, I did NOT grow up rebelling against the music in my high s
EXTD=chool parking lot. In some ways that's a good thing. By aping the
EXTD= musical tastes of other white middle-class teenage southeastern 
EXTD=Virginians, I developed a healthy appreciation for Lynyrd Skynyrd
EXTD=, Led Zeppelin, the Rolling Stones, the Who, Van Halen, Rush, and
EXTD= umpteen other classic rock bands. On the other hand, my affinity
EXTD= for "parking lot music" meant that I missed out on a lot of qual
EXTD=ity bands that didn't get played on the radio back then. While I 
EXTD=was rocking out to "Unchained" and "Subdivisions", there were pro
EXTD=bably preppy kids at Walsingham Academy just up the road establis
EXTD=hing their indie credibility early in high school by getting thei
EXTD=r angst on to "Unsatisfied" and "Answering Machine." \nI don't re
EXTD=gret my thorough education in classic rock, but would it have bee
EXTD=n too much for me to have been able to listen to both the parking
EXTD= lot classics and the indie music of the 80s? Actually, a friend 
EXTD=(let's call him Alex since that was his name) did try to introduc
EXTD=e me to the Replacements while I was in college, but I wasn't buy
EXTD=ing it. Alex was tall and good-looking and every girl and her mot
EXTD=her wanted to date him, even though he had a beautiful girlfriend
EXTD= with whom he was quite enamored. I'm serious, girls' mothers use
EXTD=d to hit on him, but now I'm getting a little off track here. The
EXTD= point is, the guy had a lot going for him, plus on top of all th
EXTD=at, he'd grown up nouveau riche and had attended a fancy prep sch
EXTD=ool. Well, at this prep school, Alex had developed a taste for th
EXTD=e Replacements and I soon came to associate Mats fans (rightly or
EXTD= wrongly I can't say) with the pampered upbringing that breeds a 
EXTD=healthy sense of entitlement. And I was having none of it no matt
EXTD=er how much Alex raved about Paul Westerberg and his sidekicks. I
EXTD= spent my formative years in York Terrace and there was no way I 
EXTD=was going to listen to the music prep school jocks blasted during
EXTD= their victorious rides home from water polo matches.\n\nFast for
EXTD=ward to 2002, nearly one decade later. With the rise of [free fil
EXTD=e sharing websites] I was finally able to check out a lot of musi
EXTD=c that I would never have bought without listening to first. And 
EXTD=about 6 months ago, I swallowed my pride and downloaded most of L
EXTD=et It Be. "Not bad," I thought, as I gave it my first listen. And
EXTD= then it started growing on me. A few months ago, I actually foun
EXTD=d myself walking into a music store and buying the CD without a h
EXTD=int of embarrassment. \n\nLong story short, I was plenty wrong ab
EXTD=out the Replacements. I should have been listening to Let It Be a
EXTD=long with my steady diet of Who's Next and In Through the Out Doo
EXTD=r in high school. "Favorite Thing", "Androgynous", "Seen Your Vid
EXTD=eo" and "Sixteen Blue" are a wonderfully diverse set of bona fide
EXTD= indie rock classics. Whether this album deserves four or five st
EXTD=ars is a judgement call. I'm going with four only because the fir
EXTD=st cut, "I Will Dare" sounds like the Smiths if the Smiths had be
EXTD=en American and utterly horrible. At some point, I'm going to hav
EXTD=e to purchase Tim and a few other Replacements classics, but for 
EXTD=now I'm happy just to finally be enjoying Let It Be, an album I w
EXTD=ould almost certainly have acquired a decade ago if I'd only list
EXTD=ened to Alex.\n\nWhat happened to Alex? Well, he broke up with hi
EXTD=s lovely girlfriend for about 6 months back in the mid 90s so tha
EXTD=t he could chase all those girls and their moms I was telling you
EXTD= about earlier, then got back together with the girlfriend and ma
EXTD=rried her. Last I heard, he was teaching English at a prep school
EXTD= in the Deep South. And I'll bet he's still listening to the Mats
EXTD=.\n\nAMAZON.COM CUSTOMER REVIEW\nSatisfied, September 5, 2002\nRe
EXTD=viewer: Christopher Clark\nThe first of the Replacements' perfect
EXTD= triology of post-adolescent angst backed by some of the fiercest
EXTD=, freshest and most potent rock (even on the ballads) since the S
EXTD=tones' 68-72 heyday. Acoustic, electric, full band, solo, fuzzbom
EXTD=b guitars, even "Chopsticks"-level piano ("Androgynous"), a littl
EXTD=e jazz and R.E.M.'s Pete Buck on mandolin...Paul Westerberg may h
EXTD=ave been drunk, but he certainly wasn't wasted, or even jaded, wh
EXTD=en he lay down these 11 tracks with his pout-scout troop of Minne
EXTD=apolis misfits.\nIn an alternate alternative universe, this was "
EXTD=Nevermind," every song a hit, everything that followed stepping c
EXTD=arefully in its sneakerprints. Audacious enough to be named after
EXTD= a Beatles album (naturally, the one that everyone hates) and ple
EXTD=dge allegiance to Kiss ("Black Diamond" is the only cover on an o
EXTD=fficial Placemats record, rather remarkable given their tendency 
EXTD=to maul everything from Abba to ZZ Top in concert), "Let It Be" i
EXTD=s ground zero, the tipping point and "Please Please Me" for colle
EXTD=ge-rock, emo, grunge, pop-punk, alt.country, Americana, and every
EXTD= single note ever played by Wilco, the Goo Goo Dolls and especial
EXTD=ly Ryan Adams, among other flailing idolizers who got their degre
EXTD=es from Westerberg High, just like Veronica and her friends in "H
EXTD=eathers."\n\nSure, "Tim" and "Pleased To Meet Me" are equally ess
EXTD=ential, as is "Color Me Impressed" and "Beyond Your Reach" from "
EXTD=Hootenanny" and "I'll Be You" from "Don't Tell A Soul" (their sec
EXTD=ond most perfect song after this set's "Unsatisfied"), but if you
EXTD= only want to own one Replacements' album, this is it, from the c
EXTD=all-to-skinny-arms of "I Will Dare" and "We're Comin' Out" to the
EXTD= primal scream of "Answering Machine" that was too powerful for t
EXTD=he band to compete, so they let Paul sing it appropriately alone,
EXTD= from the goofball giddiness of "Tommy Got His Tonsils Out" (now 
EXTD=there's a rockstar medical condition only Britney or Hanson could
EXTD= appreciate) and "Gary's Got A Boner" (ibid) to the keening wistf
EXTD=ulteria of "Sixteen Blue," "Let It Be" proves that four guys in a
EXTD= garage can create great art that doesn't sound anything like a t
EXTD=ypical retroweenie garage band (note to Strokes, Hives, Vines and
EXTD= White Stripes: Austin Powers is not an ideal role model).\n\nWis
EXTD=h it included a few bonus tracks, like maybe the Alex Chilton-pro
EXTD=duced demos for "Tim" that featured a speedmetal take of "Kiss Me
EXTD= On The Bus," acoustic and electric versions of "Can't Hardly Wai
EXTD=t" and the unfairly neglected "Nowhere Is My Home," but there's s
EXTD=omething to be said for getting it so right the first time and, e
EXTD=r, letting it be.\n\nAMAZON.COM CUSTOMER REVIEW\nPerfect accompan
EXTD=iment to cheap beer and stale cigarettes., April 11, 2002\nReview
EXTD=er: "voiceofreason" (Nokomis, FL USA)\nThe other reviewers have d
EXTD=one a masterful job in dissecting the merits of the individual so
EXTD=ngs on "Let it Be". As a whole, the album is great mood music for
EXTD= being sloppy drunk. That's a compliment, by the way. This album 
EXTD=is arguably is the most representative of the Replacements' catal
EXTD=ogue, because it certainly fits in with the reckless frat-house s
EXTD=ound of their early albums; however, the songwriting and some of 
EXTD=the performances are more tightly focused and sometimes downright
EXTD= eloquent, which are qualities that cause some people to prefer "
EXTD=Tim" or "Pleased to Meet Me". I'm not sure whether the 'Mats have
EXTD= aged well, in terms of whether they would appeal to younger ears
EXTD= that have grown up on the polished, highly-engineered music bein
EXTD=g released today. I would suggest, however, that anyone who might
EXTD= describe today's popular music artists as over-marketed, over-pa
EXTD=ckaged, or formulaic ought to give "Let it Be" a try at high-volu
EXTD=me. Some of you would no doubt curse me for subjecting you to tha
EXTD=t noise. I respectfully submit that some of the rest of you, howe
EXTD=ver, would cherish your sore eardrums for quite awhile.\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nThe sound of a band hitting its stride, Mar
EXTD=ch 16, 2002\nReviewer: Matthew O. Nugent "chaglang" (Somerville, 
EXTD=MA)\nWith all due respect to Hootennany, the Mats last album on T
EXTD=winTone is far and away their best. And when you consider the alb
EXTD=um in context - this is 1984 we're talking about - it's easy to u
EXTD=nderstand why Let It Be was so underappereciated. Here, the Mats 
EXTD=are at the beginning of their apex (made up of this album, Tim an
EXTD=d Pleased To Meet Me) and far ahead of their time that it would t
EXTD=ake 8 years for anything comprable to find its way onto daytime r
EXTD=adio. \nLet It Be pretty well bridges between the drunken goofine
EXTD=ss of Hootennany and the drunken greatness of Tim and PTMM. Unsat
EXTD=isfied and Answering Machine are my two favorite songs on the alb
EXTD=um, both precursors to Skyway (possibly the Mats' best song). The
EXTD= rest of the album either rocks (Black Diamond), smirks (Anadrogy
EXTD=nous) or both (Gary's Got a Boner, Seen Your Video). It might be 
EXTD=a little edgy for anyone just getting into the Replacements, but 
EXTD=for the brave and the initiated, it's a thing of beauty.\n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nHindsight is always 20/20..., June 18, 200
EXTD=0\nReviewer: Bill Felps (Kansas City, MO)\nWhen Let It Be came ou
EXTD=t it was hailed by critics across the nation as one of the greate
EXTD=st rock albums ever. After sixteen years it's easy to see that ti
EXTD=me has not been kind to the Replacements. That's not to say that 
EXTD=there aren't great songs here, as I Will Dare, Sixteen Blue, Andr
EXTD=ogynous, and Answering Machine show. But the rest of the album is
EXTD= sloppy rock that any barely competent bar band could have easily
EXTD= wrote. If you want a better (but definitely not a masterpiece) R
EXTD=eplacements album, check out Pleased To Meet Me. Otherwise, give 
EXTD=me Husker Du or the Meat Puppets over The Replacements anyday.\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\n I like it a lot, but..., June 13, 20
EXTD=00\nReviewer: A music fan\nI hate to have to be the first person 
EXTD=to rag on this record on Amazon, even marginally, but I have to s
EXTD=ay that Paul Westerberg's genius was kind of scattershot. Like ev
EXTD=ery Replacements record (except Tim of course), this record has i
EXTD=ncredibly strong, gorgeous moments next to some rockish filler. T
EXTD=his album does catch the messily charming potential of garage roc
EXTD=k, but they could genuinely have done it without the weak points.
EXTD=\nA song like "We're Coming Out" has some crazyass energy, the st
EXTD=raight-faced KISS tune is a good touch, and "Seen Your Video" and
EXTD= "Tommy Gets His Tonsils Out" are neat little rants, but are thes
EXTD=e good songs? Not especially. While all the songs on this record 
EXTD=grab me in one way or another -- especially the astonishing, movi
EXTD=ng, incredible "Answering Machine" and the heartbreaking, incisiv
EXTD=e "16 Blue" -- the above songs, "Video," "Tommy," "Coming Out" an
EXTD=d "Diamond" are *ahem* filler.\n\nEvery one of what the critics c
EXTD=all the Class of '84 -- Husker Du's "Zen Arcade," the Minutemen's
EXTD= "Double Nickels On the Dime," "Meat Puppets II" and this -- are 
EXTD=crazy, engaging albums that showed what indie rock could do, and 
EXTD=all of them had their share of filler. They are all worth listeni
EXTD=ng to, especially Husker Du and the Minutemen, but these are not 
EXTD="perfect records," they are not "simply the best American rock 'n
EXTD= roll of all time," I don't know what the reviewer is talking abo
EXTD=ut when he says how "this album's best songs flow like an dream -
EXTD=- persistent and uncontrollable, yet uninhibited."\n\nThis is a g
EXTD=reat record, but please calm yourselves down a bit.\n\nHalf.com D
EXTD=etails \nContributing artists: Peter Buck \n\nAlbum Notes\nThe Re
EXTD=placements: Paul Westerberg (vocals, guitar, lap steel, mandolin,
EXTD= piano, percussion); Bob Stinson (guitar); Tommy Stinson (bass, b
EXTD=ackground vocals); Chris Mars (drums, maracas).\n\nAdditional per
EXTD=sonnel: Peter Buck (guitar); Chan Poling (piano).\nProducers: Ste
EXTD=ve Fjelstad, Paul Westerberg, Peter Jesperson.\nRecorded at Black
EXTD=berry Way Studios, Minneapolis, Minnesota.\nAll tracks have been 
EXTD=digitally remastered.\n\nThe Replacements were one of America's g
EXTD=reatest bands of the 80s, irrespective of genre, though they rece
EXTD=ived thin acknowledgement outside of informed critics during thei
EXTD=r lifetime. LET IT BE demonstrates why they drove fans to devotio
EXTD=n and critics to supplication. It was 1984, and the Replacements 
EXTD=had left behind their sonic links to the Minneapolis punk scene. 
EXTD=In particular, Paul Westerberg's songs had lost the timerity of o
EXTD=ld and he was increasingly willing to tackle subjects head on - "
EXTD=Unsatisfied" is arguably the best song he ever wrote. However pro
EXTD=fundity aside, there is also a huge sense of fun about LET IT BE,
EXTD= and even throwaway material like "Gary's Got A Boner," and their
EXTD= cover of Kiss's "Black Diamond," is enormous fun.\n\nIndustry Re
EXTD=views\nIncluded in Vibe's 100 Essential Albums of the 20th Centur
EXTD=y\nVibe (12/01/1999)\n\nIncluded in Uncut's 100 Best Albums of th
EXTD=e Year\nUncut (01/01/2003)\n\n...One of the most awesome wedges o
EXTD=f wild and dangerous rock 'n' roll ever committed to disc...\nUnc
EXTD=ut (12/01/2002)\n\n8 out of 10 - ...LET IT BE [is] elegiac, quiet
EXTD=ly tragic [and] romantically bombed-out....Healthy cynicism still
EXTD= lingers, albeit wiser and more weary...\nNME (04/23/1993)\n\n...
EXTD=A classic of the decade...\nMojo (10/01/2002)\n\n4 Stars (out of 
EXTD=5) - ...LET IT BE is their finest work. No American alternative a
EXTD=ct made a better album in 1984...\nQ (10/01/1995)\n\n4 Stars (out
EXTD= of 5) - ...It was Westerberg's most mature songwriting so far, a
EXTD=nd his band's tightest playing. The boyish tomfoolery is still th
EXTD=ere....Best of all is 'Unsatisfied,' a yearning evocation of adol
EXTD=escent dissatisfaction...\nQ (06/01/1993)\n\n4 stars out of 5 - .
EXTD=..The great teenage f***-up record of the Eighties...\nRolling St
EXTD=one (09/19/2002)\n\nRanked #15 in Rolling Stone's 100 Best Albums
EXTD= Of The 80's survey.\nRolling Stone (11/01/1991)\n\n4 Stars (out 
EXTD=of 5) - ...LET IT BE is their finest work. No American alternativ
EXTD=e act made a better album in 1984...\nQ (10/01/1995)\n\n4 Stars (
EXTD=out of 5) - ...It was Westerberg's most mature songwriting so far
EXTD=, and his band's tightest playing. The boyish tomfoolery is still
EXTD= there....Best of all is 'Unsatisfied,' a yearning evocation of a
EXTD=dolescent dissatisfaction...\nQ (06/01/1993)
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