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Released: October 1984

Rating: 4.500 (average of 6 ratings)

Genre: alternative/ indie rock

Quotable: “A cornerstone post-punk album.” – Stephen Thomas Erlewine, All Music Guide

Album Tracks:

  1. I Will Dare
  2. Favorite Thing
  3. We’re Comin’ Out
  4. Tommy Gets His Tonsils Out
  5. Androgynous
  6. Black Diamond
  7. Unsatisfied
  8. Seen Your Video
  9. Gary’s Got a Boner
  10. Sixteen Blue
  11. Answering Machine

Sales (in millions):

sales in U.S. only --
sales in U.K. only - estimated --
sales in all of Europe as determined by IFPI – click here to go to their site. --
sales worldwide - estimated --


peak on U.S. Billboard album chart --
peak on U.K. album chart --

Singles/Hit Songs:

  • I Will Dare (8/24/84) --


Rated one of the top 1000 albums of all time by Dave’s Music Database. Click to learn more. One of Blender’s 100 Greatest American Albums Spin Magazine’s 100 Greatest Albums One of VH1’s 100 Greatest Rock & Roll Albums of All Time.

Let It Be
The Replacements
“By 1984, the Replacements had proved they could do sloppy drunk better than anyone, but on Let It BeBL indie rock’s favorite fall-down drunks stand tall.” BL “They finally brought the tunes. They were still confused, bored, rude, disaffected, horny and, quite often, wasted, but for 34 glorious pop-savvy minutes, they sounded exactly like winners.” BL

“Kicking off with the country-rock shuffle of I Will Dare, the record explodes into a series of pseudo-hardcore ravers before hitting Paul Westerberg’s piano-driven rumination, Androgynous, one of four major ballads that cuts to the core of Midwestern suburban alienation. Sixteen Blue is one of the definitive teenage anthems of the ‘80s, while Unsatisfied rages in despair and Westerberg rarely was more affecting than the solo performance of Answering Machine. All four, along with ‘I Will Dare,’ form the core of Westerberg and the Replacements’ canon, and are enough to make Let It Be a cornerstone post-punk album, even if the rest of the record pales next to the songs.” STE

“All the remaining songs are convincing garage rockers, even if they reveal the Replacements’ former punk stance to be a bit of a pose – a cover of Kiss’ Black Diamond comes off as a tribute, as does the co-opting of Ted Nugent’s ‘Cat Scratch Fever’ for Gary’s Got a Boner. Furthermore, the original numbers lean toward the Faces, leaving the Ramones behind, and while everything except Seen Your Video, which now sounds as dated as a ‘disco sucks’ rant, consists of bracing rockers, they’re a bit inconsequential and point the way toward the band’s deadly fascination with classic rock.” STE

Review Source(s):

Last updated March 20, 2010.