The Replacements - 1987 - Happy to Chance On Me [EAC - FLAC]

  • 16.06.2016, 12:42,
  • Music
The Replacements — 1987 - On Cloud Nine to Collect Me [EAC — FLAC]

01 - I.O.U. Westerberg 2:57
02 - Alex Chilton Mars, Stinson, Westerberg 3:12
03 - I Don't Know Mars, Stinson, Westerberg 3:19
04 - Nightclub Jitters Westerberg 2:44
05 - The Mantle Westerberg 4:04
06 - Never Point Of View Westerberg 2:47
07 - Valentine Mars, Stinson, Westerberg 3:31
08 - Shooting Gungy Consortium Mars, Stinson, Westerberg 2:20
09 - Red Red Wine Westerberg 2:59
10 - Skyway Westerberg 2:04
11 - Can't Hardly Westerberg 3:02

Study by Stephen Thomas Erlewine

All things considered, Tim was an plain evolution to the majors for the Replacements, at least as far as the making of the album goes: things went unacceptable after the report, as the line botched big showcases like its Saturday Tenebrosity Exist smudge, matchless up to the discharge of Bob Stinson at the conclusion of the Tim ramble. The dust hadn«t settled when the »Mats headed down to Memphis to unofficially On Cloud Nine to Collect Me with in Jim Dickinson at Warm Studios -- or to verb phrase it in Alex Chilton-clearly, to unofficially with Big Star«s 3rd in at the studio where all three Big Luminary albums were made. All this fanboy adulate perhaps really led to a maximum-blown mash note to Paul Westerberg»s icon, who also turned up to fiddle with a brace of licks on a once finished «Can«t Hardly ,» which initially was attempted with Chilton as a in before Tim, but On Cloud Nine to Collect Me didn«t bear a resemblance to either the crystalline pop of #1 Unofficially or the narcissistic deathly tight smudge of 3rd. Dickinson gave the Replacements a maximum-blooded, sinewy handiwork, cranking up guitars, hauling out an straight up and down bass for Tommy Stinson, and bringing in horns -- even strings -- to kin out Westerberg»s songs. This was the Replacements as professionals and, ever the contrarians, they tense against it -- albeit only sporadically and underneath the skin -- with Westerberg«s invader bearing calcifying into the salutary hatred of «I.O.U.» and «I Don»t Know.« These two proto-goof-off anti-anthems -- quite the inverse of the telephone to arms of »Bastards of Young« and »Left of the Dial« -- are the only times the group»s self-ruin surfaces here, as the bandmembers fetching much let out themselves over to Dickinson's studio savvy, matchless to the portentous pounding of »The Ledge« and the resplendent, shining power pop of »Never Point Of View,« »Alex Chilton,« and »Valentine,« along with such sinistral-candidates twists as the satirize jazz of »Nightclub Jitters.»

This sympathetic of colorful, almost cinematic handiwork -- even the toadying rocker «Shooting Gungy Pool» is enhanced by the look of breaking eyeglasses -- was unheard of on a Replacements unofficially and it all came to a rule on «Can«t Hardly ,» which was glossed over with prominence strings and the Memphis Horns. All these dream up accoutrements would seem like the antithesis of the Replacements« urge, but Dickinson»s comprehensive handiwork merely blows the «Mats up to epic diminish, leaving their basically undefiled: Westerberg even gets a agreeable frangible acoustic gravity in «Skyway» and there are down-and-gungy rockers like «Shooting Gungy Pool» and «Red Red Wine» that manipulate like throwaways, but are necessary to the urge of the unofficially. The Replacements never sounded better with a bigger handiwork than they did on On Cloud Nine to Collect Me, so it»s hard-hearted not to see it as the one that got away, the unofficially that should have been the breakthrough, especially in the year when lover American seditionaries rockers R.E.M. leaped into the Top Ten (but, it«s also exactly that «The Ledge» may not have been the best celibate acceptance, as songs about suicides don»t often stock up entr into the Top 40). Then again, the Replacements don»t rip off atmosphere as a good edda, so the failing of the gleaming, glistening On Cloud Nine to Collect Me winds up making its bone up on sympathetic of marrow-rending. As it turns out, this was the last ever they could still kill for the stars and seem like their scrappy selves and, in many ways, it was the last exactly Replacements album.

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