Catégories :
Panier 0

Votre panier est vide

The Replacements - Let It Be

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Let It Be

The Replacements

Disponible en
16-Bit CD Quality 44.1 kHz - Stereo

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Choisissez la qualité audio : 

Pour bénéficier de ce tarif, abonnez-vous à Sublime+

Langue disponible : anglais

Let It Be looms large among '80s rock albums, generally regarded as one of the greatest records of the decade. So large is its legend and so universal its acclaim that all the praise tends to give the impression that the Replacements' fourth album was designed as a major statement, intended to be something important when its genius, like so many things involving the 'Mats, feels accidental. Compared to other underground landmarks from 1984, Let It Be feels small scale, as it lacks the grand, sprawling ambition of the Minutemen's Double Nickels on the Dime or the dramatic intensity of Hüsker Dü's Zen Arcade, or if the other side of the Atlantic is taken into equation, the clean sense of purpose of The Smiths. Nothing about Let It Be is clean; it's all a ragged mess, careening wildly from dirty jokes to wounded ballads, from utter throwaways to songs haunting in their power. Unlike other classics, Let It Be needs those throwaways -- that Kiss cover, those songs about Tommy getting his tonsils out and Gary's boner, that rant about phony rock & roll -- to lighten the mood and give the album its breathless pacing, but also because without these asides, the album wouldn't be true to the Replacements, who never separated high and low culture, who celebrated pure junk and reluctantly bared their soul. This blend of bluster and vulnerability is why the Replacements were perhaps the most beloved band of their era, as they captured all the chaos and confusion of coming of age in the midst of Reaganomics, and Let It Be is nothing if not a coming-of-age album, perched precisely between adolescence and adulthood. There's just enough angst and tastelessness to have the album speak to teenagers of all generations and just enough complicated emotion to make this music resonate with listeners long past those awkward years, whether they grew up with this album or not. All this works because there is an utter lack of affect in Paul Westerberg's songs and unrestrained glee in the Replacements' roar. Sure, Let It Be has moments where the thunder rolls away and Westerberg is alone, playing "Androgynous" on a piano and howling about having to say good night to an answering machine, but they flow naturally from the band's furious rock & roll, particularly because the raw, unsettled "Unsatisfied" acts as a bridge between these two extremes. But if Let It Be was all angst, it wouldn't have captured so many hearts in the '80s, becoming a virtual soundtrack to the decade for so many listeners, or continue to snag in new fans years later. Unlike so many teenage post-punk records, this doesn't dwell on the pain; it ramps up the jokes and, better still, offers a sense of endless possibilities, especially on the opening pair of "I Will Dare" and "Favorite Thing," two songs where it feels as if the world opened up because of these songs. And that sense of thrilling adventure isn't just due to Westerberg; it's due to the 'Mats as a band, who have never sounded as ferocious and determined as they do here. Just a year earlier, they were playing almost everything for laughs on Hootenanny and just a year later a major-label contract helped pull all their sloppiness into focus on Tim, but here Chris Mars and Tommy Stinson's rhythms are breathlessly exciting and Bob Stinson's guitar wails as if nothing could ever go wrong. Of course, plenty went wrong for the Replacements not too much further down the road, but here they were fully alive as a band, living gloriously in the moment, a fleeting moment when anything and everything seems possible, and that moment still bursts to life whenever Let It Be is played.
© Stephen Thomas Erlewine /TiVo

Plus d'informations

Let It Be

The Replacements

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 60 millions de titres avec votre abonnement illimité.

Écoutez cet album et plus de 60 millions de titres avec votre abonnement illimité.

1
I Will Dare Album Version
00:03:18

PAUL WESTERBERG, Composer, Writer - The Replacements, MainArtist

2002 Restless Records 1984 Rykodisc, Inc.

2
Favorite Thing Album Version
00:02:19

PAUL WESTERBERG, Writer - The Replacements, MainArtist - CHRIS MARS, Writer - TOMMY STINSON, Writer - Bob Stinson, Writer

2002 Restless Records 1984 Rykodisc, Inc.

3
We're Comin' Out Album Version
00:02:21

PAUL WESTERBERG, Writer - The Replacements, MainArtist - CHRIS MARS, Writer - TOMMY STINSON, Writer - Bob Stinson, Writer

2002 Restless Records 1984 Rykodisc, Inc.

4
Tommy Gets His Tonsils Out Album Version
00:01:53

PAUL WESTERBERG, Writer - The Replacements, MainArtist - CHRIS MARS, Writer - TOMMY STINSON, Writer - Bob Stinson, Writer

2002 Restless Records 1984 Rykodisc, Inc.

5
Androgynous Album Version
00:03:11

PAUL WESTERBERG, Writer - The Replacements, MainArtist

2002 Restless Records 1984 Rykodisc, Inc.

6
Black Diamond Album Version
00:02:40

Paul Stanley, Writer - The Replacements, MainArtist

2002 Restless Records 1984 Rykodisc, Inc.

7
Unsatisfied Album Version
00:04:01

PAUL WESTERBERG, Composer - The Replacements, MainArtist

2002 Restless Records 1984 Rykodisc, Inc.

8
Seen Your Video Album Version
00:03:08

PAUL WESTERBERG, Writer - The Replacements, MainArtist

2002 Restless Records 1984 Rykodisc, Inc.

9
Gary's Got a Boner Album Version
00:02:28

PAUL WESTERBERG, Writer - The Replacements, MainArtist - CHRIS MARS, Writer - TOMMY STINSON, Writer - Bob Stinson, Writer

2002 Restless Records 1984 Rykodisc, Inc.

10
Sixteen Blue Album Version
00:04:24

PAUL WESTERBERG, Writer - The Replacements, MainArtist

2002 Restless Records 1984 Rykodisc, Inc.

11
Answering Machine Album Version
00:03:39

PAUL WESTERBERG, Writer - The Replacements, MainArtist

2002 Restless Records 1984 Rykodisc, Inc.

Descriptif de l'album

Let It Be looms large among '80s rock albums, generally regarded as one of the greatest records of the decade. So large is its legend and so universal its acclaim that all the praise tends to give the impression that the Replacements' fourth album was designed as a major statement, intended to be something important when its genius, like so many things involving the 'Mats, feels accidental. Compared to other underground landmarks from 1984, Let It Be feels small scale, as it lacks the grand, sprawling ambition of the Minutemen's Double Nickels on the Dime or the dramatic intensity of Hüsker Dü's Zen Arcade, or if the other side of the Atlantic is taken into equation, the clean sense of purpose of The Smiths. Nothing about Let It Be is clean; it's all a ragged mess, careening wildly from dirty jokes to wounded ballads, from utter throwaways to songs haunting in their power. Unlike other classics, Let It Be needs those throwaways -- that Kiss cover, those songs about Tommy getting his tonsils out and Gary's boner, that rant about phony rock & roll -- to lighten the mood and give the album its breathless pacing, but also because without these asides, the album wouldn't be true to the Replacements, who never separated high and low culture, who celebrated pure junk and reluctantly bared their soul. This blend of bluster and vulnerability is why the Replacements were perhaps the most beloved band of their era, as they captured all the chaos and confusion of coming of age in the midst of Reaganomics, and Let It Be is nothing if not a coming-of-age album, perched precisely between adolescence and adulthood. There's just enough angst and tastelessness to have the album speak to teenagers of all generations and just enough complicated emotion to make this music resonate with listeners long past those awkward years, whether they grew up with this album or not. All this works because there is an utter lack of affect in Paul Westerberg's songs and unrestrained glee in the Replacements' roar. Sure, Let It Be has moments where the thunder rolls away and Westerberg is alone, playing "Androgynous" on a piano and howling about having to say good night to an answering machine, but they flow naturally from the band's furious rock & roll, particularly because the raw, unsettled "Unsatisfied" acts as a bridge between these two extremes. But if Let It Be was all angst, it wouldn't have captured so many hearts in the '80s, becoming a virtual soundtrack to the decade for so many listeners, or continue to snag in new fans years later. Unlike so many teenage post-punk records, this doesn't dwell on the pain; it ramps up the jokes and, better still, offers a sense of endless possibilities, especially on the opening pair of "I Will Dare" and "Favorite Thing," two songs where it feels as if the world opened up because of these songs. And that sense of thrilling adventure isn't just due to Westerberg; it's due to the 'Mats as a band, who have never sounded as ferocious and determined as they do here. Just a year earlier, they were playing almost everything for laughs on Hootenanny and just a year later a major-label contract helped pull all their sloppiness into focus on Tim, but here Chris Mars and Tommy Stinson's rhythms are breathlessly exciting and Bob Stinson's guitar wails as if nothing could ever go wrong. Of course, plenty went wrong for the Replacements not too much further down the road, but here they were fully alive as a band, living gloriously in the moment, a fleeting moment when anything and everything seems possible, and that moment still bursts to life whenever Let It Be is played.
© Stephen Thomas Erlewine /TiVo

À propos

Distinctions :

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...
Blue Train John Coltrane
Chopin : Piano Concertos Benjamin Grosvenor
A Love Supreme John Coltrane
Ballads John Coltrane
À découvrir également
Par The Replacements

Playlists

Dans la même thématique...
Shore Fleet Foxes
Myopia Agnes Obel
What Kinda Music Tom Misch
Les Grands Angles...
Et Nirvana tua le rock'n'roll...

Il y a 32 ans naissait Nirvana, l’embardée punk la plus inattendue de la fin du XXe siècle. Carrière éclair, tubes mondiaux, hordes de fans et épilogue tragique pour un phénomène planétaire. Et si la bande de Kurt Cobain n’était autre que le dernier groupe de l’histoire du rock ? L’ultime phénomène générationnel du genre pour ne pas dire son dernier mythe ?

Le grunge en 10 albums

Il y a trente ans, Seattle devenait la capitale du rock. La faute au grunge. Cet esprit “sale” et je-m’en-foutiste né sur les cendres du punk, du heavy metal et du rock alternatif passa en un éclair de l’underground au succès mondial. Trop vite récupéré par un système qu’il reniait, le genre s’étouffa dans sa propre caricature à la fin des 90’s. Retour sur 10 albums qui ont marqué le mouvement.

Kraftwerk, 50 ans d'avance

Groupe de musique électronique le plus influent de l’histoire, Kraftwerk, fondé par le duo Ralf Hütter et Florian Schneider, qui s’est éteint le 6 mai 2020 des suites d’un cancer, a toujours été en avance sur son temps. En avance sur la technologie, sur la composition, sur les performances scéniques, les Allemands ont prouvé au grand public que les machines étaient aussi capables d’émotions et ouvert la voie pour la techno, la new wave et même le hip-hop.

Dans l'actualité...