Considered by some to be the true masterpiece of the Replacements, and by just about everyone as part of the Minneapolis band's trio of aces (on OndaRock the Milestone crown goes to the previous “Let It Be”), “Tim” appeared in September 1985, cementing their status as a cult band on the American indie rock scene of the Eighties. Having left behind the hardcore punk raids that marked their earliest days, starting as far back as “Hootenanny” (1983) the Replacements had already massively widened their stylistic horizon, embracing a broad range of influences. “Tim” also marked their debut for a bigger label, Sire Records, which meant having greater technical and financial means at their disposal - an opportunity that doesn't always go hand in hand with the quality of the final result. Paul Westerberg and company produced another handful of excellent songs (without ever reaching the larger-scale success they did everything in their power to avoid...) but remained unsatisfied with the outcome. The sessions kicked off with Alex Chilton of Big Star, one of their idols, in the producer's chair; but when it came to the final recordings, the reins were instead handed to Tommy Ramone, the first drummer of the Ramones, responsible for the final mix, which never fully won over either the band or the fans.
After a first 2008 remaster, which added six bonus tracks but did nothing to fix the overall flatness and the excessive, oh-so-“Eighties” reverb, the eleven tracks of “Tim” can finally shine in a new light today, thanks to the work of Ed Stasium, the veteran producer who has worked with Ramones, Talking Heads and Motorhead. Stasium's re-mix doesn't just succeed in making every instrument sound punchier and giving the sound a finally clear, vigorous and (if you'll forgive the term) contemporary feel - it even pulls off the “miracle” of bringing unheard parts to light. Just listen to the revelatory “Little Mascara”, extended by about a minute to unveil a Bob Stinson electric guitar solo that had vanished in the original mix. It's a remarkable piece of work that almost reveals (forgive this phrase too) an “unreleased” Replacements album, hopefully encouraging a different approach to the great records of the past - one that tries to improve them without being overly reverent, overcoming the fear of wagging fingers from fans who don't always take kindly to overly invasive changes made to works considered “untouchable”. Here everything is polished and enriched as well as it possibly could be, while still keeping (on the second disc) yet another remaster of the original mix, Tommy Ramone's, at this point a fairly negligible inclusion, but useful for direct comparison.
The “Let It Bleed edition” - as it has been named - of “Tim” is a celebratory box set that also includes fifteen demos and alternative versions, mostly previously unreleased, some of them taken from the very sessions recorded with Chilton. Among these, “Can’t Hardly Wait” appears no fewer than four times, in an evolution that runs from the anguished acoustic demo to the energetic (dare I say Springsteen-esque) electric version, on which Westerberg never quite manages to find the balance he's after: it will end up on the later “Pleased To Meet Me” with the addition of (ill-advised?) strings (here an acoustic version is included, with cello played by Michelle Kinney).
The box set is rounded out by a booklet packed with rare photographs and a piece by Bob Mehr, already the author of the biography "Trouble Boys", plus the complete recording of the concert held in January 1986, just a few weeks after the release of "Tim", at the Cabaret Metro in Chicago. It's a hyper-vitaminized snapshot of the Replacements caught on one of those nights when they knew how to tear the world apart, just moments before embarking on the downward arc that would produce three more honest albums. The inevitable breakup would follow, along with Westerberg's subsequent solo career, but the peaks of the Replacements' celebrated trio of albums - one of the most self-destructive outfits in the history of 20th century music - would never be reached again.
(Thanks to friend and colleague Paolo Ciro for his valuable insights)
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01/01/2024
This article is an English translation of the original Italian text by Claudio Lancia, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.