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REPLACEMENTS, THE - TIM
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ARTIST:
TITLE:
Tim
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CATNO:
0603497850488
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FORMAT:
Vinyl record
DESCRIPTION:
Originally Released in 1995 Indie Rock LP, On Ltd Edition Magenta Translucent vinyl - Tim was the fourth studio album. Placing 136th of Rolling Stone’s list of the 500 greatest albums of all time, in 2003, this album is revered amongst rock fans.
Moving to a major label was inevitable for the Replacements: they garnered too much acclaim and attention after Let It Be to stay on Twin/Tone, especially as the label faced the same distribution problems that plagued many indies in the mid-'80s -- plus, the 'Mats' crosstown rivals, Hüsker Dü, made the leap to the big leagues, paving the way for their own hop over to Sire. The Replacements may have left Twin/Tone behind but they weren't quite ready to leave Minneapolis in the dust, choosing to record in their hometown with Tommy Erdelyi -- aka Tommy Ramone -- who gives the 'Mats a big, roomy sound without quite giving them gloss; compared to Let It Be, Tim is polished, but compared to many American underground rock records of the mid-'80s (including those by the Ramones), it's loose and kinetic. The production -- guitars that gained muscle, drums and vocals that gained reverb -- is the biggest surface difference, but there aren't just changes in how the Replacements sound; what they're playing is different too, as Paul Westerberg begins to turn into a self-aware songwriter. A large part of the charm of Let It Be was how it split almost evenly between ragged vulgarity and open-hearted rockers, with Westerberg's best songs betraying a startling, beguiling lack of affect. That's not quite the case with Tim, as Westerberg consciously writes alienation anthems: the rallying cry of "Bastards of Young" and the college radio love letter "Left of the Dial," songs written with a larger audience in mind -- not a popular audience, but a collection of misfits across the nation, who huddled around Westerberg's raw, twitchy loneliness on "Swingin Party" and "Here Comes a Regular," or the urgent and directionless "Hold My Life."
These songs are Westerberg at his confessional peak, but instead of undercutting this ragged emotion or hiding it away, as he did on the Twin/Tone albums, he pairs it with the exuberance of "Kiss Me on the Bus" -- an adolescent cousin to "I Will Dare" -- and channels his smart-ass comments into the terrifically cynical rockabilly shuffle "Waitress in the Sky." All this eats up so much oxygen that there's not much air left for any of the recklessness of the Twin/Tone LPs: there's no stumbling, no throwaway jokes, with even the twin rave-ups of "Dose of Thunder" and "Lay It Down Clown" straightened out, no matter how much Bob Stinson might try to pull them apart, which is perhaps the greatest indication that the Replacements were no longer the band they were just a couple years ago. Some 'Mats fans never got over this change, but something was gained in this loss: the Replacements turned into a deeper band on Tim, one that spoke, sometimes mumbled, to the hearts of losers and outcasts who lived their lives on the fringe. If Let It Be captured the spirit of the Replacements, then Tim captured their soul.
Moving to a major label was inevitable for the Replacements: they garnered too much acclaim and attention after Let It Be to stay on Twin/Tone, especially as the label faced the same distribution problems that plagued many indies in the mid-'80s -- plus, the 'Mats' crosstown rivals, Hüsker Dü, made the leap to the big leagues, paving the way for their own hop over to Sire. The Replacements may have left Twin/Tone behind but they weren't quite ready to leave Minneapolis in the dust, choosing to record in their hometown with Tommy Erdelyi -- aka Tommy Ramone -- who gives the 'Mats a big, roomy sound without quite giving them gloss; compared to Let It Be, Tim is polished, but compared to many American underground rock records of the mid-'80s (including those by the Ramones), it's loose and kinetic. The production -- guitars that gained muscle, drums and vocals that gained reverb -- is the biggest surface difference, but there aren't just changes in how the Replacements sound; what they're playing is different too, as Paul Westerberg begins to turn into a self-aware songwriter. A large part of the charm of Let It Be was how it split almost evenly between ragged vulgarity and open-hearted rockers, with Westerberg's best songs betraying a startling, beguiling lack of affect. That's not quite the case with Tim, as Westerberg consciously writes alienation anthems: the rallying cry of "Bastards of Young" and the college radio love letter "Left of the Dial," songs written with a larger audience in mind -- not a popular audience, but a collection of misfits across the nation, who huddled around Westerberg's raw, twitchy loneliness on "Swingin Party" and "Here Comes a Regular," or the urgent and directionless "Hold My Life."
These songs are Westerberg at his confessional peak, but instead of undercutting this ragged emotion or hiding it away, as he did on the Twin/Tone albums, he pairs it with the exuberance of "Kiss Me on the Bus" -- an adolescent cousin to "I Will Dare" -- and channels his smart-ass comments into the terrifically cynical rockabilly shuffle "Waitress in the Sky." All this eats up so much oxygen that there's not much air left for any of the recklessness of the Twin/Tone LPs: there's no stumbling, no throwaway jokes, with even the twin rave-ups of "Dose of Thunder" and "Lay It Down Clown" straightened out, no matter how much Bob Stinson might try to pull them apart, which is perhaps the greatest indication that the Replacements were no longer the band they were just a couple years ago. Some 'Mats fans never got over this change, but something was gained in this loss: the Replacements turned into a deeper band on Tim, one that spoke, sometimes mumbled, to the hearts of losers and outcasts who lived their lives on the fringe. If Let It Be captured the spirit of the Replacements, then Tim captured their soul.
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Last FM Information on The Replacements
Please note the information is done on a artist keyword match and data is provided by LastFM.
The Replacements were an alternative rock group that formed in Minneapolis, Minnesota in 1979. The band originally started off as a hardcore punk outfit but began to incorporate folk and power pop influences in their sound. They become one of the leaders of the early alt-folk set and one of the flagship bands of the American post-punk scene in the 80s, being a major influence on 90s indie rock as well.
The band's best known lineup consisted of Paul Westerberg (vocals, guitar), Bob Stinson (guitar), Tommy Stinson (bass) and Chris Mars (drums). They were infamous for their abrasive, hard drinking lifestyles and their ragged stage performances, notorious for coming to some shows too drunk to play very well at all. Sometimes, they just performed entire sets of covers, their picks showing their debt to 70s hard rock outfits.
The sound of this band showed off what their many fans saw as the very best of independent rock n' roll. More than possibly any other band since The Rolling Stones and the the Ramones, the Replacements embodied the spirit of rock, from their raucous performances, drug addictions, charismatic and romantic frontman, and wild, sometimes basic and sometimes powerfully confessional songs. At any given time, almost any list of 'The Best Rock Albums Of All Time' will include either the album 'Let It Be' or 'Tim', sometimes both.
Their sound started off as a classic rock influenced shade of punk, mutating to a melodic hardcore sound reminiscent of local buddies Hüsker Dü. They also progressed into a relatively straightforward but heartfelt rock style, with a number of highly soulful ballads from the heart of Westerberg to round out the mix.
The band broke up in 1991. Bob Stinson, who was fired from the band in 1986 (and was subsequently replaced by Slim Dunlap), died in 1995. Westerberg and Mars both have solo careers, and Tommy Stinson formed several bands, like Perfect and Bash and Pop, and now plays bass for Guns and Roses and Soul Asylum.
In 2012, Paul Westerberg and Tommy Stinson reformed the Replacements and recorded an EP, "Songs for Slim" as a benefit for former member Slim Dunlap, who had suffered a stroke. The band played their first show since 1991 on August 24, 2013 at RiotFest in Toronto, and has since played at several festivals since. The band also currently includes Josh Freese on drums and Dave Minehan on guitar. The band played its final show in June 2015. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.