From the opening rip through “Hayday” onward, the Replacements rifle through their back catalog as if randomly clicking on songs in a jukebox. Traditional set-list rules-like making a grand introduction, establishing a natural flow, saving the best for last, etc.-got tossed out the window. the refined rock craftsmen-had escalated into a bloody battle.Įven as they found themselves headlining clubs and crashing network soundstages, the Replacements approached live performance with a determined lack of ceremony. Fortuitously captured on a 24-track mobile studio set up at the venerable Hoboken venue, it’s a crisp, broadcast-ready portrait of the moment when the tug-of-war between the Replacements’ split personalities-the perma-blotto garage band vs.
This oft-bootlegged, now greatly enhanced 29-song recording finds the band on the brink of a crucial turning point, mere months after the release of their Sire debut Tim, and a few more before they ousted wild-card guitarist Bob Stinson. If the Replacements story is one of anarchic inebriation gradually giving way to more sobering introspection, then For Sale: Live at Maxwell’s 1986 is like that last college bender before entering the working world.
#Replacement for isale movie
And on this pristinely preserved live document, the entire underdog-comeback narrative of a Rocky movie plays out and repeats itself in recurring five-minute intervals. But as much as their live history houses a junkyard’s worth of booze-fueled train-wrecks, the true legend of the Replacements hinges on the fact that their messiest moments could immediately be followed by triumphant, transcendent displays of rock’n’roll valor. For them, playing rock’n’roll was seemingly no more meaningful than doing a shot of tequila: It’s invigorating and disposable in equal measure-something that’s downed quickly and messily, courses through your veins, and makes you do things you regret before you piss it out of your system. were burrowing a path from the underground to the mainstream, the Replacements harbored no ambitions for big-budget MTV videos, Grammy Award galas, or establishment acceptance.
While the Let It Be buzz would yield a major-label deal with Sire Records at a time when bands like R.E.M.
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