The Replacements’ Tim should have been the one. When it was released in 1985, the band was in the midst of a creative breakthrough, and on the precipice of a commercial one. As lead singer Paul Westerberg’s songwriting matured and the band’s sound began to drift further from their snotty hardcore leanings, the ’Mats found their identity. 1984’s Let it Be made the band a college radio phenomenon and critical darling, but would also harken a breakup between the band and their hometown label Twin/Tone Records.

Much to the chagrin of fans still clinging to their punk-ier days playing local clubs, The Replacements became the latest burgeoning alternative rock act to jump to a major, signing with Sire. With a bigger budget, upward momentum, and the best set of songs Westerberg would ever write, Tim should have been the one. The one to shoot the ’Mats into mainstream success, to continue a dominant creative run, to cement the band’s place in the pantheon of ’80s rock music. But, at least on those fronts, it wasn’t. This new reissue of the classic album is the rare instance of a band redefining their legacy while maintaining their authenticity. The reimagining of Tim presented on this re-release provides a glimpse into the world where it wasn’t just a great album, but a truly defining one.

This reissue is big—much larger in scope and depth than any ’Mats rerelease to come before it. Over the course of four separate disks, the Let it Bleed Edition provides an interesting microcosm of the band’s sound and idiosyncrasies. There’s a characteristically rowdy live set from Chicago’s Cabaret Metro that captures the band at the height of their powers as a live act. Also included are alternate versions and outtakes of classic tracks that the band just never quite seemed to be fully satisfied with, including an amazing new version of “Can’t Hardly Wait” and an official release of the oft-bootlegged “Having Fun.” But the unquestioned main draw of this reissue is the newly re-mixed version of the original album, headed by famed producer Ed Stasium. What he manages to do with these tracks is, without a doubt, one of the greatest works of rock restorationism you’ll ever hear.

Tim always existed as an album of lost potential, one that should have become ubiquitous with the sound of ’80s alternative but was kneecapped by a messy recording process and a general lack of creative vision. The original album mix, handled by Tommy Ramone, seemed to be the product of an overcooked production style that often drowned out the amazing songwriting by Westerberg and performances by the band. Stasium’s mix doesn’t just fix these problems—it completely reinvents the feel and sound of these tracks.

The opening moments of “Hold My Life” legitimately made me question what I was hearing—the first listen of this record truly felt like a version of Tim that I never thought we’d get. The drums are so full and resonant, and the clarity of the twin guitars gives every fiery lead a new sense of interplay. The heartfelt intimacy of “Kiss Me On The Bus” is so much more potent now that the guitars and vocals have room to breathe. “Little Mascara” features a newly-unearthed Bob Stinson guitar solo on the back end that adds so much to the track. Whether it's electrifying moments like “Bastards Of Young” or solemn, introspective moments like “Here Comes A Regular,” what made Tim so great is felt twofold on this new version. Now, rather than a collection of great tracks, the album truly feels like it has an identity and creative vision. Despite these drastic changes, nothing about any of the new mixes feel inauthentic or digitally doctored. Simply put, they sound like hearing the band as they were meant to be heard.

Much of this review has centered on the concept of Tim as a missed opportunity, an album that nearly became a defining album of its era. Upon its release, it may not have been “the one.” But, for the band, this was the one—the one that perfectly balanced everything the band stood for, everything that made them great, everything that made them frustrating. In its newly presented form, the album frames the band’s discography in an entirely different way—it’s now a perfect evolution past Let It Be, and a premonition of the larger sound of Pleased To Meet Me. Dare I say it, it might just be The Replacements’ best album pound-for-pound. This reissue shows the band hitting a stunning creating peak, one that ’Mats fans always knew was there but could never quite hear in its full glory. Now, we can.

Rating: A

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