The Replacements went to Memphis as a trio to record this diverse collection of shiny, scrappy little numbers. Guitarist Bob Stinson had left the band because of drug problems and creative differences during the tour for 'Tim', leaving Paul Westerberg on lead and background vocals, electric and acoustic guitars, harmonica, piano, and six-string bass; Tommy Stinson on bass guitar, background vocals, upright bass, acoustic guitar, and guitar fills; and Chris Mars on Drums, cowbell, background vocals, and foot tapping. The sessions took place at legendary Ardent Studios with Big Star producer Jim Dickinson providing a more glossy intonation than was comfortable for some members of the band. The sound is dynamic and clean and shows them utilizing session musicians on new instrumentation such as horns, strings, and background singers. Westerberg remembers: "Jim Dickinson did a great job producing. But, of course, he's a session player, too. We finished the record and thought we were done. And he ended up overdubbing all these instruments on them later. That he played! Producers are always frustrated musicians and songwriters." Dickinson is credited as East Memphis Slim and contributed organ, keyboards, background vocals, and vibes. Alex Chilton even sat in on guitar. 'Pleased to Meet Me' only reached one hundred and thirty one on the album chart and, like all of their previous efforts, none of the singles charted at all.
Westerberg admits: "They did give us a chance with 'Pleased To Meet Me'. But no one really spelled out what was required of us...We were still of an era where misbehaving was not something that the label could tolerate or promote. I think they thought we were just pretending to be what we were and what we really wanted to do was sell a million records and live the good life. I think they were kind of shocked when they realized that we were what we were...They wanted us to change and toe the line and that tore us apart. Each individual band member went through this trauma: 'Do we change what we do?' The problem deepened because we began to realize that our behavior had become old hat and we had to change, but we felt trapped that if we did change, it would look like we did it because the label told us to, and we’d lose credibility and everyone would say we sold out. We suffered a lot for that...You resent where you’re going because it means you have to leave where you came from behind. I’ve often wondered how our music would have been effected had we never signed to a major label, and I really think it would have gotten slicker quicker. I think if anything we tried to keep it as rough as possible for as long as possible because we felt somehow dishonored by being on a major label. I mean, we always loved pure pop music. We would have made that kind of music from day one, had we been capable of it."
'Alex Chilton'
"If he was from Venus, would he feed us with a spoon?
If he was from Mars, wouldn't that be cool?
Standing right on campus, would he stamp us in a file?
Hangin' down in Memphis all the while.
Children by the million sing for Alex Chilton
When he comes 'round
They sing 'I'm in love.
What's that song?
I'm in love
With that song.'"
'I Don't Know'
"One foot in the door, the other one in the gutter
The sweet smell that they adore, I think I'd rather smother"
'Valentine'
"Well you wish upon a star that turns into a plane
And I guess that's right on par
Who's left to blame?
If you were a pill
I'd take a handful at my will
And I'd knock you back with something sweet and strong
Plenty of times you wake up in February make-up
Like the moon and the morning star you're gone
Tonight makes love to all your kind
Tomorrow's makin' Valentines"
'Skyway'
"You take the skyway, high above the busy little one-way
In my stupid hat and gloves, at night I lie awake
Wonderin' if I'll sleep
Wonderin' if we'll meet out in the street
But you take the skyway
It don't move at all like a subway
It's got bums when it's cold like any other place
It's warm up inside
Sittin' down and waitin' for a ride
Beneath the skyway
Oh, then one day, I saw you walkin' down that little one-way
Where, the place I'd catch my ride most everyday
There wasn't a damn thing I could do or say
Up in the skyway"
'Can't Hardly Wait' features the Memphis Horns and Alex Chilton on guitar.
"I'll write you a letter tomorrow
Tonight I can't hold a pen
Someone's got a stamp that I can borrow
I promise not to blow the address again
Lights that flash in the evening,
Through a crack in the drapes
Jesus rides beside me
He never buys any smokes
Hurry up, hurry up, ain't you had enough of this stuff
Ashtray floors, dirty clothes, and filthy jokes
See you're high and lonesome
Try and try and try
Lights that flash in the evening,
Through a hole in the drapes
I'll be home when I'm sleeping
I can't hardly wait
I can't wait. Hardly wait."
interview:
'Pleased to Meet Me'
full album:
All songs written and composed by Paul Westerberg, except where noted.
Side one
1. "I.O.U." 2:57
2. "Alex Chilton" Westerberg Tommy Stinson Chris Mars 3:12
3. "I Don't Know" Westerberg Stinson Mars 3:19
4. "Nightclub Jitters" 2:44
5. "The Ledge" 4:04
Side two
6. "Never Mind" 2:47
7. "Valentine" Westerberg Stinson Mars 3:31
8. "Shooting Dirty Pool" Westerberg Stinson Mars 2:20
9. "Red Red Wine" 2:59
10. "Skyway" 2:04
11. "Can't Hardly Wait" 3:02
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