MUZ Muziek
Het forum voor 's werelds enige universele hobby! Snaren of toetsen, vinyl of cd, eendagsvlieg of rasartiest, op de radio of op een festival! Hier kun je al je ongebreideld enthousiasme, maar ook je weldoordachte kritische noten kwijt over muziek
Er is een goeie 'nieuwe' site voor The Replacements, waar je van alles en nog wat kunt vinden
http://colormeimpressed.com/
Op deze site is onder andere een ± complete lijst te vinden met alle bootlegs inclusief inlays. Een echte aanrader is 'Shit Shower and Shave' uit 1989: daarop zijn ze echt goed bezig!
Paul Westerberg heeft een eigen site waar ook vaak live opnames te vinden zijn:
http://members.aol.com/paulspage/
Ja, ik heb van GGD alle CD's (ook die oude en die vind ik zeer okee), Dizzy Up The Girl is een tikkie te klef, alhoewel Gutterflower wel weer meer rockt. Ik heb ze ook nog in the Melkweg gezien toen Dizzy net uit was. Dat was echt een goed concert.
[ Bericht 7% gewijzigd door schaap001 op 13-01-2006 16:27:29 ]
http://colormeimpressed.com/
Op deze site is onder andere een ± complete lijst te vinden met alle bootlegs inclusief inlays. Een echte aanrader is 'Shit Shower and Shave' uit 1989: daarop zijn ze echt goed bezig!
Paul Westerberg heeft een eigen site waar ook vaak live opnames te vinden zijn:
http://members.aol.com/paulspage/
Ja, ik heb van GGD alle CD's (ook die oude en die vind ik zeer okee), Dizzy Up The Girl is een tikkie te klef, alhoewel Gutterflower wel weer meer rockt. Ik heb ze ook nog in the Melkweg gezien toen Dizzy net uit was. Dat was echt een goed concert.
[ Bericht 7% gewijzigd door schaap001 op 13-01-2006 16:27:29 ]
Er is een nieuwe verzamelaar van The Replacements verschenen, met daarop 2 nieuwe tracks van een reunie line-up: Paul Westerberg (guitars + vox), Tommy Stinson (bass + back vox), Chris Mars (back vox) en Josh Freeze (drums).
Chris, Tommy, Josh, Paul (december 2005)
Pitchfork recensie:
The Replacements
Don't You Know Who I Think I Was?: The Best of The Replacements
[Rhino; 2006]
Rating: 8.8
For anyone who spends too much time reading books and magazines about rock and roll, it can be difficult to hear the Replacements beyond the myth. Whether it was cultivated by the band or foisted upon them by journalists, the "Beautiful Loser" archetype was made for these guys, and it's been an inseparable part of their persona since the first shipment of Sorry Ma, Forgot to Take Out the Trash left the Twin-Tone offices.
The Replacements were the perfect band for a certain breed of American rock critic. They started out vaguely punk, but nothing about them was threatening, political, or arty; they were regular guys-- scruffy, Midwestern, anti-fashion and anti-pop; they hid an emotional vulnerability beneath cases of beer and fuck-up hijinks; they should've been huge, but the record-buying public and the New York suits never figured out what they had. Etc.
You can sense that the myth is starting to fade a bit. A slew of spotty Paul Westerberg solo albums, generally shoddy treatment of the back catalog, and indie rock's trending away from their trad brand of rock have caused the Replacements to slip from view relative to many of the bands they came up with in the 1980s. Of the bands in Michael Azzerad's essential Our Band Could Be Your Life, the Replacements seem particularly distant from what's happening now.
In some quarters fans are trying to shore up The Replacements position by talking about influence. Nirvana is often mentioned, which makes some sense at first because they played loud rock and Kurt Cobain had a scratchy voice. The Replacements even had a song called "Nevermind". But the comparison doesn't stand up to scrutiny. Cobain was enamored of capital-a Art and all its pretensions; he thought of himself as a feminist and obsessed over childhood. Westerberg thought "art" was short for "Arthur" and values in his songs were traditional. Now Goo Goo Dolls and Ryan Adams, on the other hand...
So if the myth is fading and the influence is questionable, all we're left with are the records. And Westerberg's best songs still resonate. This set collects 18 from the Replacements' original days and adds two recent songs cut with the surviving members. It's the first compilation to include tracks from both Twin-Tone (84 and before, indie) and Sire (85 and after, major), and is thus fated to replace the Sire-only singles and rarities two-fer All for Nothing/Nothing for All.
The selection and sequencing of Don't You Know Who I Think I Was is generally smart, hitting most of the agreed-upon highs. The various albums are represented in their proper proportions based on quality, with Tim getting the most songs (four) and Stink and All Shook Down getting the fewest (one each). It's set up more like a mix-tape than a survey, leading to a couple of strange juxtapositions. Leading off the Tim selections with "Here Comes a Regular" is jarring; if any song was meant to be an album closer, it's this. With its crawling pace and downcast mood, it throws up a huge speedbump when listening to this comp straight through.
Something else happens when "Alex Chilton" introduces the Pleased to Meet Me selections, as the booming drums seem to come from another world than the dinky snare of the Tommy Ramone-produced Tim. The Replacements never could figure out what sort of production worked with Westerberg's songs. Tim was a thin and trebly disaster, which was most apparent on rockers like "Bastards of Young", while Pleased to Meet Me and Don't Tell a Soul were overproduced in different ways. Their best-sounding stuff by far is the Twin-Tone material, which is too bad since Westerberg generally improved as a songwriter with each record. "Skyway" is one of the sharpest and most affecting ballads of the college rock era, and "I'll Be You" might be Westerberg's peak, with an entire world of feeling held inside the opening word "If".
Oh yeah, two new songs. "Message to the Boys" essentially finishes writing the music to Westerberg's skeletal solo debut "Waiting for Somebody" from the Singles soundtrack. Pitchfork's Ryan Dombal described it as a loyal farewell rather than a new beginning, and that seems exactly right. It's warm and nostalgic and not trying too hard. "Pool and Dive" is almost as good, sounding more like a channeling of the Big Star influence, the brash power-pop side of the Replacements given room to breathe. Bands reuniting for new songs to stick on a best-of always puts fans on the edge of their seats, braced for embarrassment. But the Replacements get out quickly with dignity intact.
Hearing the 18 songs from the band's original run, the consistency of Westerberg's themes stands out. He built his own little world brick-by-brick, populated it with original characters, and wrote some very catchy tunes about what goes on there. He was like an indie-rock Springsteen, relentlessly chronicling adolescence and early adulthood. In his world everyone is 17, 18, 19 or 20, the grown-ups sound like Charlie Brown's teacher, people gossip, the jobs stink, boredom is rampant, and escape is possible through music and love. Given the aching familiarity of this landscape and Westerberg's eye for detail, the Replacements will always be around.
-Mark Richardson, June 13, 2006
Tracklist:
TAKIN A RIDE
SHIFTLESS WHEN IDLE
KIDS DON'T FOLLOW
COLOR ME IMPRESSED
WITHIN YOUR REACH
I WILL DARE
ANSWERING MACHINE
UNSATISFIED
HERE COMES A REGULAR
KISS ME ON THE BUS
BASTARDS OF YOUNG
LEFT OF THE DIAL
ALEX CHILTON
SKYWAY
CAN'T HARDLY WAIT
ACHIN' TO BE
I'LL BE YOU
MERRY GO ROUND
MESSAGE TO THE BOYS
POOL & DIVE
Chris, Tommy, Josh, Paul (december 2005)
Pitchfork recensie:
The Replacements
Don't You Know Who I Think I Was?: The Best of The Replacements
[Rhino; 2006]
Rating: 8.8
For anyone who spends too much time reading books and magazines about rock and roll, it can be difficult to hear the Replacements beyond the myth. Whether it was cultivated by the band or foisted upon them by journalists, the "Beautiful Loser" archetype was made for these guys, and it's been an inseparable part of their persona since the first shipment of Sorry Ma, Forgot to Take Out the Trash left the Twin-Tone offices.
The Replacements were the perfect band for a certain breed of American rock critic. They started out vaguely punk, but nothing about them was threatening, political, or arty; they were regular guys-- scruffy, Midwestern, anti-fashion and anti-pop; they hid an emotional vulnerability beneath cases of beer and fuck-up hijinks; they should've been huge, but the record-buying public and the New York suits never figured out what they had. Etc.
You can sense that the myth is starting to fade a bit. A slew of spotty Paul Westerberg solo albums, generally shoddy treatment of the back catalog, and indie rock's trending away from their trad brand of rock have caused the Replacements to slip from view relative to many of the bands they came up with in the 1980s. Of the bands in Michael Azzerad's essential Our Band Could Be Your Life, the Replacements seem particularly distant from what's happening now.
In some quarters fans are trying to shore up The Replacements position by talking about influence. Nirvana is often mentioned, which makes some sense at first because they played loud rock and Kurt Cobain had a scratchy voice. The Replacements even had a song called "Nevermind". But the comparison doesn't stand up to scrutiny. Cobain was enamored of capital-a Art and all its pretensions; he thought of himself as a feminist and obsessed over childhood. Westerberg thought "art" was short for "Arthur" and values in his songs were traditional. Now Goo Goo Dolls and Ryan Adams, on the other hand...
So if the myth is fading and the influence is questionable, all we're left with are the records. And Westerberg's best songs still resonate. This set collects 18 from the Replacements' original days and adds two recent songs cut with the surviving members. It's the first compilation to include tracks from both Twin-Tone (84 and before, indie) and Sire (85 and after, major), and is thus fated to replace the Sire-only singles and rarities two-fer All for Nothing/Nothing for All.
The selection and sequencing of Don't You Know Who I Think I Was is generally smart, hitting most of the agreed-upon highs. The various albums are represented in their proper proportions based on quality, with Tim getting the most songs (four) and Stink and All Shook Down getting the fewest (one each). It's set up more like a mix-tape than a survey, leading to a couple of strange juxtapositions. Leading off the Tim selections with "Here Comes a Regular" is jarring; if any song was meant to be an album closer, it's this. With its crawling pace and downcast mood, it throws up a huge speedbump when listening to this comp straight through.
Something else happens when "Alex Chilton" introduces the Pleased to Meet Me selections, as the booming drums seem to come from another world than the dinky snare of the Tommy Ramone-produced Tim. The Replacements never could figure out what sort of production worked with Westerberg's songs. Tim was a thin and trebly disaster, which was most apparent on rockers like "Bastards of Young", while Pleased to Meet Me and Don't Tell a Soul were overproduced in different ways. Their best-sounding stuff by far is the Twin-Tone material, which is too bad since Westerberg generally improved as a songwriter with each record. "Skyway" is one of the sharpest and most affecting ballads of the college rock era, and "I'll Be You" might be Westerberg's peak, with an entire world of feeling held inside the opening word "If".
Oh yeah, two new songs. "Message to the Boys" essentially finishes writing the music to Westerberg's skeletal solo debut "Waiting for Somebody" from the Singles soundtrack. Pitchfork's Ryan Dombal described it as a loyal farewell rather than a new beginning, and that seems exactly right. It's warm and nostalgic and not trying too hard. "Pool and Dive" is almost as good, sounding more like a channeling of the Big Star influence, the brash power-pop side of the Replacements given room to breathe. Bands reuniting for new songs to stick on a best-of always puts fans on the edge of their seats, braced for embarrassment. But the Replacements get out quickly with dignity intact.
Hearing the 18 songs from the band's original run, the consistency of Westerberg's themes stands out. He built his own little world brick-by-brick, populated it with original characters, and wrote some very catchy tunes about what goes on there. He was like an indie-rock Springsteen, relentlessly chronicling adolescence and early adulthood. In his world everyone is 17, 18, 19 or 20, the grown-ups sound like Charlie Brown's teacher, people gossip, the jobs stink, boredom is rampant, and escape is possible through music and love. Given the aching familiarity of this landscape and Westerberg's eye for detail, the Replacements will always be around.
-Mark Richardson, June 13, 2006
Tracklist:
TAKIN A RIDE
SHIFTLESS WHEN IDLE
KIDS DON'T FOLLOW
COLOR ME IMPRESSED
WITHIN YOUR REACH
I WILL DARE
ANSWERING MACHINE
UNSATISFIED
HERE COMES A REGULAR
KISS ME ON THE BUS
BASTARDS OF YOUNG
LEFT OF THE DIAL
ALEX CHILTON
SKYWAY
CAN'T HARDLY WAIT
ACHIN' TO BE
I'LL BE YOU
MERRY GO ROUND
MESSAGE TO THE BOYS
POOL & DIVE
Ja, las inderdaad vorige week de Pitchfork recensie. Snel een checken die plaat.
1,000,000 demons can't be wrong...
Rating 8.8
Ik noem een Tony van Heemschut,een Loeki Knol,een Brammetje Biesterveld en natuurlijk een Japie Stobbe !
Wat een fantastische band 
Tong, had jij niet eens een verhaal dat je opeens bij een Replacement optreden zat zonder dat je het wist? Mooi verhaal was dat (als ik het me goed herinner).
Tong, had jij niet eens een verhaal dat je opeens bij een Replacement optreden zat zonder dat je het wist? Mooi verhaal was dat (als ik het me goed herinner).
Ja laatst nog over gepost. Was de avond voor Pinkpop in het cultureel centrum van Geleen.quote:Op zondag 8 november 2009 16:02 schreef ralfseltje het volgende:
Wat een fantastische band
Tong, had jij niet eens een verhaal dat je opeens bij een Replacement optreden zat zonder dat je het wist? Mooi verhaal was dat (als ik het me goed herinner).
Zaten te zuipen aan de bar toen we uit de zaal answering machine hoorden. Klonk lekker die cover dus wij de zaal in waar zo'n 20 man verveeld voor zich uit stonden te staren.
Wij cool achterin de zaal gaan staan doorzuipend.
'Krijg nou wat dat zijn The Replacements zelf.'
Slechtste maar tevens leukste concert dat we ooit hebben gezien. De gitarist ging drummen de drummer ging zingen. Wat Paul Westerberg deed weten we nog steeds niet. Na afloop met ze gezopen en een chips gevecht gehouden. Ik was trouwens met The toen nog niet Nozems zijnde vrienden.
Sorry dat ik me herhaal maar er werd om gevraagd
Ik noem een Tony van Heemschut,een Loeki Knol,een Brammetje Biesterveld en natuurlijk een Japie Stobbe !
Legendarische band. Let it Be is al snel uitgegroeid tot een van mijn favoriete platen aller tijden. Het leunt wel erg zwaar tegen sentiment bij mij, maar dat is soms best fijn.
Heb slechte en goeie concerten van ze gezien. Het was alles of niks.quote:Op woensdag 6 juli 2011 13:22 schreef emokid het volgende:
Legendarische band. Let it Be is al snel uitgegroeid tot een van mijn favoriete platen aller tijden. Het leunt wel erg zwaar tegen sentiment bij mij, maar dat is soms best fijn.
Ik noem een Tony van Heemschut,een Loeki Knol,een Brammetje Biesterveld en natuurlijk een Japie Stobbe !
In 'Our band could be your life' (een boek) staat een heel tof hoofdstuk over The Replacements. Oa dat ze een keer allemaal stipjes op de gitaarnek van de gitarist hadden geplakt, zonder dat hij het wist. Op het podium kwam hij er pas achter, waarna elke solo volledig de mist in ging.
En Satisfied wordt gebruikt in een film, over tieners in een pretpark. Kan alleen niet op de naam komen, maar wel een aanrader.
En Satisfied wordt gebruikt in een film, over tieners in een pretpark. Kan alleen niet op de naam komen, maar wel een aanrader.
Die jaquote:
Adventureland, leuke film, heerlijk nummer
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