ll of the slick production of Pleased to Meet Me couldn’t prepare listeners for the glossy sound of Don’t Tell a Soul, the Replacements’ last-ditch attempt at mainstream success. Bathed with washes of synthesizers, shining guitars, backing vocals and a shimmering, AOR production, Don’t Tell a Soul puts an end to the Replacements and begins Paul Westerberg’s solo career. The bulk of the songs are self-consciously mature, as Westerberg looks back on his career (the autobiographical "Talent Show") and is haunted by the past ("Rock N Roll Ghost," "Darlin’ One"), as he attempts to refashion himself as a craftsman. A few of these attempts work, particularly the country-rock ballad "Achin’ to Be" and the arena rock stab "I’ll Be You," but the lite-funk workout "Asking Me Lies" and the stuttering "I Won’t" are flat-out embarrassing. And the rest of the album suffers from Westerberg’s determination to be adult. The songs are too self-consciously mature, and the band functions as a supporting act for the lyrics, which lack the unpretentious poetry of his best work. Ironically, Westerberg’s desire to be an "adult" is the reason why radio ignored Don’t Tell a Soul, because it meant that the record lacked both rockers or power ballads which would have given them air-time. And most old fans found the production too heavy to make sorting through the album worthwhile.