The Replacements: Let It Be CD Track Listing

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The Replacements Let It Be (1984)
1984 Twin/Tone Records TTR 8441-2\n\nOriginally Released 1984\nTwinTone Records CD Edition Released 1989\nRestless Records USA CD Edition Released September 2002\n\nAMG EXPERT REVIEW: The Replacements half-heartedly tried to expand their reach on Hootenanny, and they followed through on that album's promise on Let It Be. Kicking off with the country-rock shuffle of "I Will Dare," the record explodes into a series of pseudo-hardcore ravers before hitting Paul Westerberg's piano-driven rumination, "Androgynous," one of four major ballads that cuts to the core of Midwestern suburban alienation. "Sixteen Blue" is one of the definitive teenage anthems of the '80s, while "Unsatisfied" rages in despair and Westerberg rarely was more affecting than the solo performance of "Answering Machine." All four, along with "I Will Dare," form the core of Westerberg and the Replacements' canon, and are enough to make Let It Be a cornerstone post-punk album, even if the rest of the record pales next to the songs. All the remaining songs are convincing garage rockers, even if they reveal the Replacements' former punk stance to be a bit of a pose -- a cover of Kiss' "Black Diamond" comes off as a tribute, as does the co-opting of Ted Nugent's "Cat Scratch Fever" for "Gary's Got a Boner." Furthermore, the original numbers lean toward the Faces, leaving the Ramones behind, and while everything except "Seen Your Video," which now sounds as dated as a "disco sucks" rant, consists of bracing rockers, they're a bit inconsequential and point the way toward the band's deadly fascination with classic rock. -- Stephen Thomas Erlewine\n\nAmazon.com essential recording\nOn their first releases, even amid all the smirking irreverence, the Replacements seemed to have more ambition than other post-punkers, but it wasn't until Let It Be that they actually realized it. There's still plenty of smirking here--"Seen Your Video" is a great snotty taunt--but there's also smartly-crafted pop like "I Will Dare" and not-quite-love songs like "Answering Machine," not to mention a rocking cover of uncool Kiss that's played perfectly straight. This is classic, all-over-the-board indie rock, especially the angst-ridden empathy of "Sixteen Blue," where Paul Westerberg, all of 23, remembers just how it is to be a teenager. --David Cantwell \n\nAMAZON.COM CUSTOMER REVIEW\nPossibly the finest punk / Alternative record ever, April 1, 2006\nReviewer: Bart McGowen (Evanston, IL)\nThe Replacements were one of the 5-10 greatest rock bands ever. This is arguably their greatest album. \n\nTheir entire career (1981-1991) was sadly during the era when radio was dominated (obliterated..) by the retro "Classic Rock" format. As a result, the 'Mats were never heard by most people. Their legacy is the dozens of major bands who, by their own admission, owe part or all of their sound to the influence of the Replacements ( including: Nirvana, Wilco, Goo Goo Dolls...) \n\nIf you are a fan of punk, grunge, or Alt Rock, you should own this record. \n\nAMAZON.COM CUSTOMER REVIEW\nEverything about this album is fantastic - you will LOVE this!, January 7, 2006\nReviewer: C. Cross "music lover" (New Haven, CT USA)\nThe Replacement's "Let It Be" is simply a GREAT album which I think is arguably better than their follow-up "Tim" (that album had about 5 or 6 great songs, but the rest was relatively hard to listen to and like). Every song here is a punk/indie rock classic, and the album has a variety of uses. It's great to examine each song, play on high volume, or even keep low as background music. It comes close to being unlikable, but they somehow manage to keep it comfortable and appealing all the way through. The interesting part about that is that a lot of it's punk rock-influenced indie rock which would normally drive people away, but they somehow manage to make every song fun for most people. Paul Westerberg's voice is also way better here than it is on "Tim" (his voice was arguably unlikable on most of the songs on that album). Musically it seems pretty standard in today's world, but back in the 80's it was something very new and original - its historical influence certainly adds to its rating and value. This is an album that punk/indie rock fans and most people will really really like - highly recommended! \n\nAMAZON.COM CUSTOMER REVIEW\nDoesn't get much better than this, December 31, 2005\nReviewer: Daniel Maltzman (Arlington, MA, USA)\nTruly one of the greatest American rock bands of the 1980s, the Replacements spent much of their career just under the radar of the consciousness of the mainstream. While the band built up a loyal following throughout the Reagan years, the 'Mats never broke through the way other college favorites like REM or The Red Hot Chili Peppers did. While the band offered some of the best music of the decade and while they were later signed to a major label and even appeared on Saturday Night Live, true recognition and praise eluded them in their day. But while the band never managed to enjoy a real cross-over hit with the mainstream, they remained a cult favorite throughout their existence. \n\nThe 'Mats early albums boasted raucous punk that was authentic and memorable, but a far cry away from the best work the band would offer. While the Minneapolis quartet's first three releases "Sorry Ma, I forgot to take out the Trash," (1981) "Stink" EP (1982) and "Hootenanny" (1983) showed much promise, it was the band's fourth album "Let it Be," (1984) that saw the band reach their full potential. The Replacements "Holy Trinity" of albums, "Let it Be," "Tim," (1985) and "Pleased to Meet Me" (1987) saw singer/songwriter Paul Westerberg blossom as a writer, churning out his most memorable work. \n\nWhile "Let it Be" has the punk aesthetics of its predecessors, the songs are more refined and crafted. While "Let it Be" isn't overtly commercial or has any singles that scream "HIT" written on them, the album was up to this point the band's most assessable offering. To get right to the point, "Let it Be" is just a great album. Track after track, each song is memorable and well structured with an infectious hook, killer groove and keen sense of melody. Westerberg, Bob Stinson, (guitar) Tommy Stinson, (bass) and Chris Mars (drums) struck the perfect balance between finely crafted songs and anarchic, unrestrictive punk. The band is loose and hungry, but also meticulous, making sure the album is raw and organic, but without sounding sloppy. \n\nWith "Let it Be" Westerberg really honed in as a lyricist. Songs of alienation, dissatisfaction, frustration, and problems with interpersonal relationships are the prevailing themes. And while these are the prevailing themes with many, many bands, Westerberg sounds authentic and the listener can really sympathize with his plight. While he sounds genuinely distraught, he never indulges in self-pity or drains the listener. There is nothing forced or contrived about the feelings he is trying to convey. All the while Westerberg has a real sense of humor as songs like "Tommy gets his Tonsils Out" and "Gary's got a Boner" would suggest. \n\nThe opening mid-tempo "I Will Dare" is probably the album's best song, if not the greatest Replacements track ever recorded. Estrangement and unrequited love but with a sense of hope seem to be the prevailing theme. Tommy Stinson's sparse bass over the lush playing of Westerberg, Bob Stinson, and guest guitarist Peter Buck (of REM) make this song a triumph. "Favorite Thing" goes at an almost manic pace and has a real sense of urgency, as Westerberg tells of his affection for the one he loves. "Were Coming Out" may have been a contender for "Hootenanny" as this punk-rocker is somewhat chaotic, but without loosing structure. The light piano offers a nice touch. "Tommy gets his tonsils out" is also reminiscent of the Replacements early work, as this humorous punk number tackles the bassists' fear of going to the dentist. The album takes a complete left turn for the bizarre "Androgynous," a melancholy piano balled dealing with the issue of sexual identity and self-acceptance. A cover of KISS's "Black Diamond" stays pretty true to the original, while giving it a bit of a punk-make-over. Perhaps the most earnest song on the album "Unsatisfied" articulates the frustration one feels with the emptiness of an unfulfilled life. A poke at MTV, the mostly instrumental "Seen Your Video" shows the band cut loose and just rock out. Bob Stinson shows his fee-wheeling skills over this catchy little ditty. The humorous "Gary's Got a Boner" is somewhat like "Tommy gets his tonsils out" and is somewhat reminiscent of Ted Nugent's "Cat Scratch Fever." A morose plight detailing teenage angst, "Sixteen Blue" is gentle and bittersweet, yet rough-around-the-edges. The almost exclusively guitar closing track "Answering Machine," while very sparse and stripped down, is quite effective. The song's theme, longing frustration, sums up the premise of the album in a nutshell and makes for the perfect closing number. \n\nReleased over twenty years ago, "Let it Be" has aged quite well. It sounds as good and as poignant today as it did in 1984. The themes of "Let it Be" are timeless. As long as there are humans on the Earth, people will long for companionship and meaning and be unhappy with their life. Bands like Green Day, the Offspring, and countless others owe a lot to the Replacements. \n\nAMAZON.COM CUSTOMER REVIEW\nPerfect, November 4, 2005\nReviewer: Daniel P. Regan\nI don't have the vocabulary to express how important this album was [and is] to me. When you're young, confused, angry, in unrequited love, fearful of the future but dissatisfied with the present, and anxious to get on with it, or any combination of these feelings, this album is a salvation. It conveys all those feelings and more. I still listen to it, start to finish, every track, to this day, 20+ years later. Thank you, Replacements.\n\nAMAZON.COM CUSTOMER REVIEW\nSome filler but a good rock album nonetheless, August 8, 2005\nReviewer: TimothyFarrell22 (Massachusetts)\nAlt / indie rock was at its best before it hit the mainstream and developed into the mostly horrific genre known as grunge (Nirvana, Mudhoney, and Soundgarden are a few of the good bands in the genre). Alt rock isn't the mainstream bands such as U2 and REM that get labeled it, but the independent bands who never really mainstream sucesses but had huge cult followings. They were truly the alternative to the horrible hair metal and pop that ruled the airwaves at the time. One of the best, if not the best, bands to come out of the movement was definatly the Replacements. "Tim" is probably their best album, but "Let It Be" is a classic also, perfectly showing the transition between their early punk days and their later more power pop oriented years. The album shows how diverse the band was, as they are equally good at tackling punk ("We're Coming Out"), catchy pop-rock ("I Will Dare"), and ballads ("Answering Machine"). The only problem with the album is there are a few tracks that are needless and annoying filler. "Black Diamond" and "Garys Got a Boner" should've been replaced. Overall, this is definatly a great if slightly flawed album thats worth buying.\n\nAMAZON.COM CUSTOMER REVIEW\nI like them more without Bob..., January 3, 2005\nReviewer: Mikey Scars "www.masonsummers.com" (Maryland)\nI know this goes against everyone else's view on this album but I think it's just average as far as the Replacements go. This may sound sacrilege to Mat's fans everywhere, but frankly, I think the outstanding albums are the three after lead guitarist Bob Stinson's departure. I don't know if he held Westerberg back as a songwriter or if it's just a coincidence but for me the last three Mat's albums are where Westerberg developed the song-writing style that I personally love the most. No offense to any Bob Stinson fans but that's my feelings on the matter. \n\nAs for Let It Be, don't get me wrong, it's kinda great but kinda horrible, just like The Replacements themselves! Now I love them but it's true. There's four songs I love on Let It Be. It's very much worth having. But there is, in my humble opinion, lots of filler worth throwing out. Listen to the samples and see for yourself. \n\nAMAZON.COM CUSTOMER REVIEW\nOne of the best of all time, December 1, 2003\nReviewer: A music fan\nThis album gets better with age. It is a visonary product whose influences are heard today. Put this one and you cannot tell that it is 20 years old. The melodies are sweet, lyrics are rough as well as humorous, sensitive and poignant. The album is produced just right, not too heavy, not too rough.....and the songs themselves range from the metal sound of the seventies, to the what rock ballads really should be. All in all it should be listened and celebrated. THIS IS THE ALBUM THAT GOT THEM THIER MAJOR LABEL DEAL, but even the greatest hits of the Mats post Let IT Be cannot be more listenable than this.\n\nAMAZON.COM CUSTOMER REVIEW\nSimply amazing jangle-punk, September 25, 2003\nReviewer: G. Kriston "Garret" (River Forest, IL)\n'Let It Be' was the album that The Replacements had been working up to ever since 'Sorry Ma, Forgot To Take Out The Trash'. That album, along with 'Stink' and 'Hootenanny' were sloppy little piles of punk rock, and I mean that as a compliment. But 'Let It Be' is pure perfection. The 'Mats are still a bit sloppy in places, but they've evolved greatly. Every song is something special. Even what people call "throwaway material" or "filler" is amazing. There is everything from bouncy jangle pop to fast hardcore to amazingly affective ballads to anti-MTV epics to fun little filler songs that are pure silliness . Hell, there's even a KISS cover on here. Paul Westerberg's writing on songs like "Answering Machine" and "Sixteen Blue" is just amazing. This is simply one of the greatest albums made in the 80s and of all time. It isn't as shiny as their major label work, but it isn't as sloppy and loose as their earlier albums. The Replacements everyone from The Goo Goo Dolls to Nirvana to Sunny Day Real Estate. A great album for fans of punk or post-punk.\n\nAMAZON.COM CUSTOMER REVIEW\nA great CD by a great band, June 15, 2003\nReviewer: "still1071" (Chapel Hill, NC)\nThe Replacements have often been called the Rolling Stones of the 1980s, and I think the comparison is very appropriate. In fact, I would go so far as to call them the greatest rock and roll band of the '80s.\nLet It Be is their finest moment. There is an excellent mix here between knock down, drag out rockers ("Black Diamond"; "Favorite Thing"; "We're Comin' Out") and beautiful, finely crafted pop ballads ("I Will Dare"; "Androgynous"; "Unsatisfied"). The latter songs are my personal favorites; they clearly show what a fine craftsman of beautiful melodies Paul Westerberg truly was.\n\nAlso of note on this album is the kiss off to MTV called "Seen Your Video." A classic example of period reaction to the changes occurring in music at the time from a fiercely independent band.\n\nAMAZON.COM CUSTOMER REVIEW\nParking Lot Music vs. Water Polo Music, October 16, 2002\nReviewer: James F. Colobus (Pittsburgh, PA United States)\nUnlike Patterson Hood, I did NOT grow up rebelling against the music in my high school parking lot. In some ways that's a good thing. By aping the musical tastes of other white middle-class teenage southeastern Virginians, I developed a healthy appreciation for Lynyrd Skynyrd, Led Zeppelin, the Rolling Stones, the Who, Van Halen, Rush, and umpteen other classic rock bands. On the other hand, my affinity for "parking lot music" meant that I missed out on a lot of quality bands that didn't get played on the radio back then. While I was rocking out to "Unchained" and "Subdivisions", there were probably preppy kids at Walsingham Academy just up the road establishing their indie credibility early in high school by getting their angst on to "Unsatisfied" and "Answering Machine." \nI don't regret my thorough education in classic rock, but would it have been too much for me to have been able to listen to both the parking lot classics and the indie music of the 80s? Actually, a friend (let's call him Alex since that was his name) did try to introduce me to the Replacements while I was in college, but I wasn't buying it. Alex was tall and good-looking and every girl and her mother wanted to date him, even though he had a beautiful girlfriend with whom he was quite enamored. I'm serious, girls' mothers used to hit on him, but now I'm getting a little off track here. The point is, the guy had a lot going for him, plus on top of all that, he'd grown up nouveau riche and had attended a fancy prep school. Well, at this prep school, Alex had developed a taste for the Replacements and I soon came to associate Mats fans (rightly or wrongly I can't say) with the pampered upbringing that breeds a healthy sense of entitlement. And I was having none of it no matter how much Alex raved about Paul Westerberg and his sidekicks. I spent my formative years in York Terrace and there was no way I was going to listen to the music prep school jocks blasted during their victorious rides home from water polo matches.\n\nFast forward to 2002, nearly one decade later. With the rise of [free file sharing websites] I was finally able to check out a lot of music that I would never have bought without listening to first. And about 6 months ago, I swallowed my pride and downloaded most of Let It Be. "Not bad," I thought, as I gave it my first listen. And then it started growing on me. A few months ago, I actually found myself walking into a music store and buying the CD without a hint of embarrassment. \n\nLong story short, I was plenty wrong about the Replacements. I should have been listening to Let It Be along with my steady diet of Who's Next and In Through the Out Door in high school. "Favorite Thing", "Androgynous", "Seen Your Video" and "Sixteen Blue" are a wonderfully diverse set of bona fide indie rock classics. Whether this album deserves four or five stars is a judgement call. I'm going with four only because the first cut, "I Will Dare" sounds like the Smiths if the Smiths had been American and utterly horrible. At some point, I'm going to have to purchase Tim and a few other Replacements classics, but for now I'm happy just to finally be enjoying Let It Be, an album I would almost certainly have acquired a decade ago if I'd only listened to Alex.\n\nWhat happened to Alex? Well, he broke up with his lovely girlfriend for about 6 months back in the mid 90s so that he could chase all those girls and their moms I was telling you about earlier, then got back together with the girlfriend and married her. Last I heard, he was teaching English at a prep school in the Deep South. And I'll bet he's still listening to the Mats.\n\nAMAZON.COM CUSTOMER REVIEW\nSatisfied, September 5, 2002\nReviewer: Christopher Clark\nThe first of the Replacements' perfect triology of post-adolescent angst backed by some of the fiercest, freshest and most potent rock (even on the ballads) since the Stones' 68-72 heyday. Acoustic, electric, full band, solo, fuzzbomb guitars, even "Chopsticks"-level piano ("Androgynous"), a little jazz and R.E.M.'s Pete Buck on mandolin...Paul Westerberg may have been drunk, but he certainly wasn't wasted, or even jaded, when he lay down these 11 tracks with his pout-scout troop of Minneapolis misfits.\nIn an alternate alternative universe, this was "Nevermind," every song a hit, everything that followed stepping carefully in its sneakerprints. Audacious enough to be named after a Beatles album (naturally, the one that everyone hates) and pledge allegiance to Kiss ("Black Diamond" is the only cover on an official Placemats record, rather remarkable given their tendency to maul everything from Abba to ZZ Top in concert), "Let It Be" is ground zero, the tipping point and "Please Please Me" for college-rock, emo, grunge, pop-punk, alt.country, Americana, and every single note ever played by Wilco, the Goo Goo Dolls and especially Ryan Adams, among other flailing idolizers who got their degrees from Westerberg High, just like Veronica and her friends in "Heathers."\n\nSure, "Tim" and "Pleased To Meet Me" are equally essential, as is "Color Me Impressed" and "Beyond Your Reach" from "Hootenanny" and "I'll Be You" from "Don't Tell A Soul" (their second most perfect song after this set's "Unsatisfied"), but if you only want to own one Replacements' album, this is it, from the call-to-skinny-arms of "I Will Dare" and "We're Comin' Out" to the primal scream of "Answering Machine" that was too powerful for the band to compete, so they let Paul sing it appropriately alone, from the goofball giddiness of "Tommy Got His Tonsils Out" (now there's a rockstar medical condition only Britney or Hanson could appreciate) and "Gary's Got A Boner" (ibid) to the keening wistfulteria of "Sixteen Blue," "Let It Be" proves that four guys in a garage can create great art that doesn't sound anything like a typical retroweenie garage band (note to Strokes, Hives, Vines and White Stripes: Austin Powers is not an ideal role model).\n\nWish it included a few bonus tracks, like maybe the Alex Chilton-produced demos for "Tim" that featured a speedmetal take of "Kiss Me On The Bus," acoustic and electric versions of "Can't Hardly Wait" and the unfairly neglected "Nowhere Is My Home," but there's something to be said for getting it so right the first time and, er, letting it be.\n\nAMAZON.COM CUSTOMER REVIEW\nPerfect accompaniment to cheap beer and stale cigarettes., April 11, 2002\nReviewer: "voiceofreason" (Nokomis, FL USA)\nThe other reviewers have done a masterful job in dissecting the merits of the individual songs on "Let it Be". As a whole, the album is great mood music for being sloppy drunk. That's a compliment, by the way. This album is arguably is the most representative of the Replacements' catalogue, because it certainly fits in with the reckless frat-house sound of their early albums; however, the songwriting and some of the performances are more tightly focused and sometimes downright eloquent, which are qualities that cause some people to prefer "Tim" or "Pleased to Meet Me". I'm not sure whether the 'Mats have aged well, in terms of whether they would appeal to younger ears that have grown up on the polished, highly-engineered music being released today. I would suggest, however, that anyone who might describe today's popular music artists as over-marketed, over-packaged, or formulaic ought to give "Let it Be" a try at high-volume. Some of you would no doubt curse me for subjecting you to that noise. I respectfully submit that some of the rest of you, however, would cherish your sore eardrums for quite awhile.\n\nAMAZON.COM CUSTOMER REVIEW\nThe sound of a band hitting its stride, March 16, 2002\nReviewer: Matthew O. Nugent "chaglang" (Somerville, MA)\nWith all due respect to Hootennany, the Mats last album on TwinTone is far and away their best. And when you consider the album in context - this is 1984 we're talking about - it's easy to understand why Let It Be was so underappereciated. Here, the Mats are at the beginning of their apex (made up of this album, Tim and Pleased To Meet Me) and far ahead of their time that it would take 8 years for anything comprable to find its way onto daytime radio. \nLet It Be pretty well bridges between the drunken goofiness of Hootennany and the drunken greatness of Tim and PTMM. Unsatisfied and Answering Machine are my two favorite songs on the album, both precursors to Skyway (possibly the Mats' best song). The rest of the album either rocks (Black Diamond), smirks (Anadrogynous) or both (Gary's Got a Boner, Seen Your Video). It might be a little edgy for anyone just getting into the Replacements, but for the brave and the initiated, it's a thing of beauty.\n\nAMAZON.COM CUSTOMER REVIEW\nHindsight is always 20/20..., June 18, 2000\nReviewer: Bill Felps (Kansas City, MO)\nWhen Let It Be came out it was hailed by critics across the nation as one of the greatest rock albums ever. After sixteen years it's easy to see that time has not been kind to the Replacements. That's not to say that there aren't great songs here, as I Will Dare, Sixteen Blue, Androgynous, and Answering Machine show. But the rest of the album is sloppy rock that any barely competent bar band could have easily wrote. If you want a better (but definitely not a masterpiece) Replacements album, check out Pleased To Meet Me. Otherwise, give me Husker Du or the Meat Puppets over The Replacements anyday.\n\nAMAZON.COM CUSTOMER REVIEW\n I like it a lot, but..., June 13, 2000\nReviewer: A music fan\nI hate to have to be the first person to rag on this record on Amazon, even marginally, but I have to say that Paul Westerberg's genius was kind of scattershot. Like every Replacements record (except Tim of course), this record has incredibly strong, gorgeous moments next to some rockish filler. This album does catch the messily charming potential of garage rock, but they could genuinely have done it without the weak points.\nA song like "We're Coming Out" has some crazyass energy, the straight-faced KISS tune is a good touch, and "Seen Your Video" and "Tommy Gets His Tonsils Out" are neat little rants, but are these good songs? Not especially. While all the songs on this record grab me in one way or another -- especially the astonishing, moving, incredible "Answering Machine" and the heartbreaking, incisive "16 Blue" -- the above songs, "Video," "Tommy," "Coming Out" and "Diamond" are *ahem* filler.\n\nEvery one of what the critics call the Class of '84 -- Husker Du's "Zen Arcade," the Minutemen's "Double Nickels On the Dime," "Meat Puppets II" and this -- are crazy, engaging albums that showed what indie rock could do, and all of them had their share of filler. They are all worth listening to, especially Husker Du and the Minutemen, but these are not "perfect records," they are not "simply the best American rock 'n roll of all time," I don't know what the reviewer is talking about when he says how "this album's best songs flow like an dream -- persistent and uncontrollable, yet uninhibited."\n\nThis is a great record, but please calm yourselves down a bit.\n\nHalf.com Details \nContributing artists: Peter Buck \n\nAlbum Notes\nThe Replacements: Paul Westerberg (vocals, guitar, lap steel, mandolin, piano, percussion); Bob Stinson (guitar); Tommy Stinson (bass, background vocals); Chris Mars (drums, maracas).\n\nAdditional personnel: Peter Buck (guitar); Chan Poling (piano).\nProducers: Steve Fjelstad, Paul Westerberg, Peter Jesperson.\nRecorded at Blackberry Way Studios, Minneapolis, Minnesota.\nAll tracks have been digitally remastered.\n\nThe Replacements were one of America's greatest bands of the 80s, irrespective of genre, though they received thin acknowledgement outside of informed critics during their lifetime. LET IT BE demonstrates why they drove fans to devotion and critics to supplication. It was 1984, and the Replacements had left behind their sonic links to the Minneapolis punk scene. In particular, Paul Westerberg's songs had lost the timerity of old and he was increasingly willing to tackle subjects head on - "Unsatisfied" is arguably the best song he ever wrote. However profundity aside, there is also a huge sense of fun about LET IT BE, and even throwaway material like "Gary's Got A Boner," and their cover of Kiss's "Black Diamond," is enormous fun.\n\nIndustry Reviews\nIncluded in Vibe's 100 Essential Albums of the 20th Century\nVibe (12/01/1999)\n\nIncluded in Uncut's 100 Best Albums of the Year\nUncut (01/01/2003)\n\n...One of the most awesome wedges of wild and dangerous rock 'n' roll ever committed to disc...\nUncut (12/01/2002)\n\n8 out of 10 - ...LET IT BE [is] elegiac, quietly tragic [and] romantically bombed-out....Healthy cynicism still lingers, albeit wiser and more weary...\nNME (04/23/1993)\n\n...A classic of the decade...\nMojo (10/01/2002)\n\n4 Stars (out of 5) - ...LET IT BE is their finest work. No American alternative act made a better album in 1984...\nQ (10/01/1995)\n\n4 Stars (out of 5) - ...It was Westerberg's most mature songwriting so far, and his band's tightest playing. The boyish tomfoolery is still there....Best of all is 'Unsatisfied,' a yearning evocation of adolescent dissatisfaction...\nQ (06/01/1993)\n\n4 stars out of 5 - ...The great teenage f***-up record of the Eighties...\nRolling Stone (09/19/2002)\n\nRanked #15 in Rolling Stone's 100 Best Albums Of The 80's survey.\nRolling Stone (11/01/1991)\n\n4 Stars (out of 5) - ...LET IT BE is their finest work. No American alternative act made a better album in 1984...\nQ (10/01/1995)\n\n4 Stars (out of 5) - ...It was Westerberg's most mature songwriting so far, and his band's tightest playing. The boyish tomfoolery is still there....Best of all is 'Unsatisfied,' a yearning evocation of adolescent dissatisfaction...\nQ (06/01/1993)
This rock cd contains 11 tracks and runs 33min 31sec.
Freedb: 9907d90b
Buy: from Amazon.com

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