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Rhino readies second half of Replacements overhaul

Ben Wener
The Orange County Register (MCT)

Back in April, when Rhino Records revamped the Replacements' sonically slovenly first four albums (recorded for the Twin/Tone label), I held out hope that the reissue house would do likewise to the remainder of the band's catalog. Its Sire Records releases, that is: college-rock classics "Tim" (1985) and "Pleased to Meet Me" (1987), the slicker though not entirely emptier "Don't Tell a Soul" (1989) and the group's back-to-basics swan song, "All Shook Down" (1990).

Well, ask and ye shall receive. All four are slated to arrive in spiffy expanded editions on Sept. 23, at which time the entire 'Mats catalog will be available at all download outlets for the first time. Although I'm not sure what's more of a selling point - to have Paul Westerberg's most memorable material (apart from 1984's "Let It Be") brought up to modern audio standards or to savor more detritus that didn't surface on the 1997 best-of-plus-leftovers "All for Nothing/Nothing for All."

I 'spose it depends on which disc we're talking.

"Tim" sports early drafts of "Here Comes a Regular," the snarky novelty "Waitress in the Sky" and the wonderful "Can't Hardly Wait." "Pleased to Meet Me" boasts a few nutty covers ("Tossin' and Turnin'," "Route 66?), rarities like "Election Day" and alternate takes on "Alex Chilton" and "Valentine." "Don't Tell a Soul" rescues their version of "Cruella DeVille" from the notable, atmospheric Disney tribute "Stay Awake" (which is well worth tracking down) and includes demos of "Talent Show" and "We'll Inherit the Earth" plus a remake of Slade's "Gudbuy T'Jane." "All Shook Down," meanwhile, will now feature early versions of just about every cut on the album, including the perfectly titled "Sadly Beautiful."

I could make a case for owning all of them - even "Soul," which isn't half as vapid as its reputation would suggest and does actually include the band's one bona fide hit, "I'll Be You." But if you're on a budget, or browsing through the past ... well, you need to start with "Let It Be." "Tim" and "Pleased," however, remain just as essential.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

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Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

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10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

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7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

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