THE REPLACEMENTS Let It Be 1984 Orig Vinyl LP Record

$

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THE REPLACEMENTS LET IT BE CLASSIC 1984 LP ORIGINAL TWIN/TONE TTR 8441 R.E.M.'S PETER BUCK PLAYS GUITAR ON "I WILL DARE" AMG SAYS- "LET IT BE LOOMS LARGE AMONG '80S ROCK ALBUMS, GENERALLY REGARDED AS ONE OF THE GREATEST RECORDS OF THE DECADE." 10% OF YOUR PURCHASE PRICE WILL GO TO THE SURFRIDER FOUNDATION (EBAY GIVING WORKS MINIMUM DONATION IS $5.00) Details:

• All lp's come with a money back guarantee.
• Photos on this page are of the actual lp that is available.
• We have estimated the condition of the record, but we are not experts on vintage lps. As a guideline, we used the standards of the Record Collectors Guild. http://www.recordcollectorsguild.org/index.php
• Our abbreviated version of the Record Collectors Guild Grading Standards is below the Record Details And Condition Section of the listing.
• Hopefully, there are enough pictures for you to make your own grading determination. (All of the photos below will enlarge when you click on them.)
• Your valuable records will be packaged to survive anything short of a nuclear explosion...
• For your convenience, a review of THE REPLACEMENTS LET IT BE is posted below.
• If you have any questions about this REPLACEMENTS LP, or need additional pictures of the record to help make your decision, please contact us through eBay. We will be very glad to answer your questions and send you additional photos of the albums.

RECORD DETAILS AND CONDITION
• Used
• Label-TWIN TONE
• Catalog Number- TTR 8441
• Grading Estimate Cover- VG+
• Grading Estimate Record- VG+
• Grading Estimate Sleeve- GOOD+ (Browning and tears. Will ship in new sleeve and enclose original sleeve also.)


• PLEASE SEE THE PHOTOS BELOW THE REVIEW

ROCK, READ, AND ROAM! ABBREVIATED VERSION OF THE RECORD COLLECTORS GUILD STANDARDS Mint(M)- The record has never been played, and may be still sealed. Near Mint(NM)- The record is nearly perfect. The lp cover and any inserts should have no obvious signs of wear. Very Good Plus(VG+)- The record will show some signs that it was played and otherwise handled by a previous owner who took good care of it. Any scuffs or scratches on the record do not affect one's listening experience. Cover, inner sleeves, and inserts may show some slight wear. Very Good(VG)- The record may have some surface noise when played, especially during intros and quiet passages. Groove wear may be noticeable. Covers, sleeves, and inserts, may have, some writing, tape, tears, or stickers. (A record may only have 2-3 or three of these problems to remain in the VG category.) Good (G) Good Plus(G+)- A record in this condition will play without skipping, but will have noticeable surface noise, and visible groove wear. Covers, sleeves, and inserts will have split seams, writing, etc.. Fair(F), Poor(P)- A record in one of these conditions will not play through without skipping. Picture sleeves and inserts, may be water damaged and heavily marred by writing, and wear. The lp cover may barely keep the record in.
Album Tracks A1 I Will Dare (Guitar - Peter Buck) A2 Favorite Thing A3 We're Comin' Out A4 Tommy Gets His Tonsils Out A5 Androgynous A6 Black Diamond B1 Unsatisfied B2 Seen Your Video B3 Gary's Got A Boner B4 Sixteen Blue B5 Answering Machine
Review by Stephen Thomas Erlewine 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.

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