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{"id":932,"date":"2008-05-06T21:49:19","date_gmt":"2008-05-06T19:49:19","guid":{"rendered":"http:\/\/www.indiestadt.net\/?p=932"},"modified":"2015-06-12T21:54:23","modified_gmt":"2015-06-12T19:54:23","slug":"favorite-thing","status":"publish","type":"post","link":"https:\/\/www.indiestadt.net\/2008\/05\/favorite-thing\/","title":{"rendered":"Favorite Thing"},"content":{"rendered":"<p><a href=\"http:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be.jpg\" data-rel=\"lightbox-gallery-h9cs5J2y\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" src=\"http:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be.jpg\" alt=\"The Replacements, Let It Be\" width=\"900\" height=\"900\" class=\"aligncenter size-full wp-image-933\" srcset=\"https:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be.jpg 900w, https:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be-150x150.jpg 150w, https:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be-300x300.jpg 300w, https:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be-768x768.jpg 768w, https:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be-160x160.jpg 160w, https:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be-320x320.jpg 320w, https:\/\/www.indiestadt.net\/wp-content\/uploads\/2015\/06\/the_replacements_let_it_be-520x520.jpg 520w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><\/a><\/p>\n<h3>The Replacements, Let It Be<br \/>\nTwin\/Tone, lp 1984<br \/>\nOmtale basert p\u00e5 reissue, Rhino, cd 2008<\/h3>\n<p>[dropcap]&raquo;S[\/dropcap]<strong>orry Ma, Forgot To Take Out The Trash&raquo;. Tittelen p\u00e5 The Replacements&#8217; f\u00f8rste langspiller er herlig pubertal og en sl\u00e5ende illustrasjon til fire punks som p\u00e5 det tidspunkt kavet og sjanglet rundt seg selv og hverandre i iver over fort-fort hardcore. I likhet med H\u00fcsker D\u00fc var imidlertid ikke The Replacements hardcore s\u00e5nn p\u00e5 ramme alvor, til det \u00e5 v\u00e6re bar de for mye rock, rufs og skrammel i seg.<\/strong><\/p>\n<p>Assistert av Minneapolis&#8217; lokale Twin\/Tone Records (som ogs\u00e5 huset senere st\u00f8rrelser som Babes In Toyland, The Jayhawks og Soul Asylum), kapret The Replacements en liten men hengiven tilhengerskare samt et flertall rockspaltisters evige beundring. Hvilket for noen sikkert kan synes merkelig, da det med overflatisk h\u00f8rsel vil v\u00e6re lett \u00e5 forveksle The Replacements med et helt ordin\u00e6rt bakg\u00e5rdsband preget av st\u00f8rre vilje enn evne.<\/p>\n<p>[pullquote-right]H\u00e5pl\u00f8se den ene kvelden for neste kveld \u00e5 v\u00e6re fantastiske[\/pullquote-right]<\/p>\n<p>Objektivt sett og h\u00f8rt skal det da ogs\u00e5 vanskelig gj\u00f8res \u00e5 fremheve The Replacements som tidenes beste band, selv den mest halstarrige tilhenger vil ikke benekte bandets rykte som ujevnt, planl\u00f8st eller tilfeldig. Men nettopp der, som h\u00e5pl\u00f8se den ene kvelden for neste kveld \u00e5 v\u00e6re fantastiske, ligger The Replacements&#8217; sjel, hjerte og appell. Upretensi\u00f8st, useri\u00f8st; The Replacements hadde aldri noen slagplan om \u00e5 lage klassiske album. Seri\u00f8siteten i det useri\u00f8se skal dog ingen betvile, for den er bunn \u00e6rlig og uten hensyn til hva andre m\u00e5tte tenke eller mene. De utstr\u00e5ler dette diffuse, men for den som forst\u00e5r likefullt helt konkrete, begrepet &#8216;rock&#8217; i dypeste forstand. Enten griper man dette, eller s\u00e5 rett og slett begriper man det bare ikke.<\/p>\n<p>&laquo;Let It Be&raquo; er bandets f\u00f8rste virkelig modne album, modne i den forstand at Paul Westerberg (som skrev brorparten av materialet) n\u00e5 laget sanger hvis hovedform\u00e5l ikke alltid var \u00e5 harves over kjappest mulig. Heller ustruktert er det imidlertid fortsatt, for punk, metal, rock, roots og pop smeller inn og ut i en salig r\u00f8re. Tilsvarende er tekst og stemning i konstant sving mellom reflekterende alvor og kvisete bajaserier. &laquo;Let It Be&raquo; er s\u00e5 definitivt ingen nitidig planlagt helhet, men d\u00e9t til tross klamrer det seg sammen som et album. Dynamisk, forsiktig sagt. For den som ikke skvetter i overdreven grad ved tanken p\u00e5 brautende punkrock, piano og ballade, cover av Kiss, honky tonk og skimrende pop i \u00e9n og samme pakke p\u00e5 dr\u00f8ye tredve minutter; vil &laquo;Let It Be&raquo; v\u00e6re en forn\u00f8yelig heisatur.<\/p>\n<p>The Replacements og &laquo;Let It Be&raquo; er vital undergrunn fra tiden f\u00f8r &#8216;alternativ rock&#8217; ble et slags sjangerbegrep i seg selv. Solid festet i sin tid men samstundes tidl\u00f8s i attityde og tiln\u00e6rming, som et uttrykk for rotl\u00f8s, lett forvirret ungdom uten intensjoner om \u00e5 forandre verden og uten selv \u00e5 vite at de underveis skaper gull. Et heldig uhell, var og er hva The Replacements er. \u00c5rets bolk med oppgraderte versjoner b\u00f8r v\u00e6re en fin anledning til \u00e5 b\u00f8te p\u00e5 eventuelle hull, det er bare \u00e5 pile ned til n\u00e6rmeste platepusher prompte (og glem for all del ikke \u00e5 ta med s\u00f8pla p\u00e5 veien ut). <\/p>\n<h4>TRACKS<\/h4>\n<p>I Will Dare \/ Favorite Thing \/ We&#8217;re Comin&#8217; Out \/ Tommy Gets His Tonsils Out \/ Androgynous \/ Black Diamond \/ Unsatisfied \/ Seen Your Video \/ Gary&#8217;s Got A Boner \/ Sixteen Blue \/ Answering Machine + BONUS: 20th Century Boy \/ Perfectly Lethal \/ Temptation Eyes \/ Answering Machine (demo) \/ Heartbeat &#8211; It&#8217;s A Lovebeat \/ Sixteen Blue (outtake)<\/p>\n<p>Produsert av Steve Fjelstad, Paul Westerberg og Peter Jesperson <\/p>\n<p>[hr]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&laquo;Sorry Ma, Forgot To Take Out The Trash&raquo;. Tittelen p\u00e5 The Replacements&#8217; f\u00f8rste langspiller er herlig pubertal og en sl\u00e5ende illustrasjon til fire punks som p\u00e5 det tidspunkt kavet og sjanglet rundt seg selv og hverandre&#8230;<\/p>\n","protected":false},"author":2,"featured_media":933,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,3],"tags":[128,129,196,64,74,195,97],"_links":{"self":[{"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/posts\/932"}],"collection":[{"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/comments?post=932"}],"version-history":[{"count":1,"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/posts\/932\/revisions"}],"predecessor-version":[{"id":934,"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/posts\/932\/revisions\/934"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/media\/933"}],"wp:attachment":[{"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/media?parent=932"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/categories?post=932"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.indiestadt.net\/wp-json\/wp\/v2\/tags?post=932"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}