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So large is its legend and so universal its acclaim that all the praise tends to give the impression that the \u003cstrong\u003eReplacements\u003c\/strong\u003e' fourth album was designed as a major statement, intended to be something important when its genius, like so many things involving the 'Mats, feels accidental.\u003c\/p\u003e\n\u003cp\u003eCompared to other underground landmarks from 1984, \u003cem\u003eLet It Be\u003c\/em\u003e feels small scale, as it lacks the grand, sprawling ambition of the Minutemen's \u003cem\u003eDouble Nickels on the Dime\u003c\/em\u003e or the dramatic intensity of Hüsker Dü's \u003cem\u003eZen Arcade\u003c\/em\u003e, or if the other side of the Atlantic is taken into equation, the clean sense of purpose of The Smiths.\u003c\/p\u003e\n\u003cp\u003eNothing about \u003cem\u003eLet It Be\u003c\/em\u003e is clean; it's all a ragged mess, careening wildly from dirty jokes to wounded ballads, from utter throwaways to songs haunting in their power. 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