Born Under Punches

I was having one of those 'how come nobody ever talks about...' conversations with a mate the other day, and it struck me that, in lue of anything else remotely interesting to say, I could use this blog to vent some of my 'unsung hero' based rants. So here goes...

Im guessing most people who read this know of REM. Undisputed kings of the 80's American college radio scene; pushed to the moon and back after the release of hugely popular albums like 'Out of Time', irresistible singles like 'Shiney Happy People' and their abso-fucking-lutley classic 'Automatic for the people' (read: 'the one with Everybody Hurts on'). Less well known, I imagine, are the other bands who flourished in the heady days of that same mid 80's scene- such as the blistering Husker Du, the wonderfully quirky Meat Puppets and the band Im going to focus on today- The Replacements.

Ill explain something first:

The Replacements career is monumentaly frustrating for a retrospective fan such as me. Never before have I had more 'Why dont they do more songs like THIS one!' thoughts about a band; and I own almost all of Lennon's post-beatle material... So this isnt about me lambasting Joe Public for not making rock gods of my favourate bands- on no. I fully understand the reasons for Mark Westerberg and his band not being household names.

Anyway, the Replacements began life as the Impendiments in the late 70's, with the turn of the decade heralding a name change and subsequent signing to Twin/Tone records. Their early stuff was VERY much in the punk/hardcore/garage vain; rowdy, chaotic, inebriated but strangely charming- hear the drunk neandrethal roar of 'Beer For Breakfast' for a dictionary definition of the bands ability to be belchingly ramshackle, but extrememly likable with it. 1984 saw the band release their breakthru (and my personal favourite of their records) 'Let it be'. Featuring fan favourites like 'I will dare' (which features REM's Peter Buck on six strings), 'Unsatisfied' and 'Androgynous', it signaled a change of direction for the guys...or more acuratly, it didnt. Ill explain... This disc really sums up the bands career for me. Songs like the aformentioned combine elements of the bands punk roots with country, rock n roll, new wave, even lounge jazz and (shhhh!..) pop, to create a truly original and utterly enchanting sound which, most importantly, delivers great, great songs. However, I mentioned earlier that this record doesnt represent a change in direction for the band, which is true. Its more a change in direction of lead singer/writer Mark Westerberg; longing to expand his repetoir thus showcasing his brilliant songwriting, yet hesitent to abandon the punk roots to which he owes aformentioned brilliant songwriting. A dilemma indeed, and one he wrestled with for the remainder of the 'Mats career.
For this reason the later (greater) Replacements records sound very Jeckyl and Hide to me; one side wonderfully written, eclectic and downright charming pop infused rock tracks which could be imtimate, distant, spiteful, reflective, optimistic- whatever; another half thrashy garage numbers which, while retaining some punk credibility, sound a little tired and dated to me. Its this struggle with punk's
(in)famous glass ceiling that frustrates me when I listen to the 'Mats, and, I reckon, stopped the band ever registering the classic they so-incredibly-blatently had within them.

In summary, if you enjoy REM's looser moments, the Pixies or any of the American alternative bands (Pavement ect), I'd suggest you look into the Replacements- the Best of compilation 'All for Nothing, Nothing for All' is a good place to start; you may not be disappointed.

http://www.twintone.com/mats.html -the Replacements page at Twin/Tone

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=29943698 -The 'Mats at MySpace, you can hear some stuff here.