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Word. Document is next.
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Document Released 1987 I.R.S. Records http://www.tahinpekmez.org/uploads/i...ument_No_5.jpg The time to rise has been engaged I doubt that truer words have ever opened an album. With this line from "Finest Worksong", R.E.M.'s fifth record begins. Due to its incredible commercial success and the rising popularity of the band, Document would be their last released on I.R.S. records., and would carry them down the path to international stardom, wealth and musical freedom they had never before experienced. But at what cost? It's easy to blame document for R.E.M.'s Warner Brother's Era mediocrity. Document sounds mainstream. It was trying to be mainstream. It became mainstream, and with that it was arguably the indirect reason for records like Around the Sun. In a sense, Document is R.E.M.'s "The Joshua Tree": polished, popular, pervasive and the "big break" for both bands. Without Document, R.E.M. would have fallen to the same fate as the Feelies and the Violent Femmes, still playing small shows and eventually petering out whilst retaining their signature sound despite financial hardships and dwindling success. But that isn't R.E.M., the multi-million dollar megastars who once declared that the "Everybody hurts, everybody cries", and like it or not, it's all because of Document. But while we can in a way blame the record for its own success, blaming it for the sporadically brilliant and at times not-so-brilliant by products of that success is hardly fair. Rather, examining how Document became successful is what is important to do when analyzing this record. No one can effectively predict an album to be a hit, but by 1987, R.E.M. seemed to have a fairly clear idea of how to attain it. Working off the musical path laid in place by Don Gehman's production on Lifes Rich Pageant, producer Scott Litt took Document one step further. Until then, Michael's vocals had been audible at times but indiscernible more often than not. On Document, Stipe sings with a clear and resonant tenor that dominates the album. As a result, the guitars and bass are oftened drowned out, and Mike Mills harmonies are nowhere to be found. This is a slight problem, as Michael never was and never will be Bono, and while he is a great frontman, his voice simply doesn't work as a centerpiece of an album. Herein lies the overwhelming difference between Lifes Rich Pageant and Document in terms of sound. Whereas the former was a guitar album in every sense, the latter is more mismatched; trying to glean from Michael's voice something that he doesn't possess, that is, the ability to belt. And as such, these eleven songs ultimately fail to serve their purpose as anti-establishment political anthems. In 1987, College students loved two things: R.E.M. and hating Ronald Reagan. As their most lyrically political album to date, Document bridged the gap between the two, thus beginning their short-lived two album stint in which they openly linked political beliefs with their music. The college kids bought into it because of sheer prospect, but I don't. With 20 years of political music since Document and ever more before its release, the whole idea is becoming quite tired. Without the songwriting, production or Henry Rollins-like frontman to back it up, Document fails despite Bill Berry's best drumming ever on tracks like Lightnin' Hopkins and Finest Worksong. However, when they lay down their picket signs for song or two is when this album begins to show its strength. The One I Love, which would become a top ten single, is led by a classic riff and a one word chorus to die for (see "FIIIIAAAAAAAAAHH"). It is a classic alternative love song, or rather a song about love, as it is in actuality a harsh snide kiss-off to lovers "left behind". Lightnin' Hopkins is even better, with an absolutely cracking beat and catchy harmonious chorus. It is only brought down by Michael's vocal, too loud and overdone to the point of near annoyance. However, the only point at which the album achieves near perfection is with the closing song Oddfellow's Local 151. The haunting vocal performance from Michael Stipe is great, but the instrumentation makes the song brilliant, as Mike Mill's Joy Division-esque bass line plods along to the beat of Berry's drum. Buck's guitar, double tracked and distorted is not lost amongst these musical forces, thankfully, and as a result, Oddfellows is very different from any R.E.M. song before or since. They never tried this formula again, but on Oddfellows it works with great results. Unfortunately, these songs, plus the rabble-rousing classic "It's the End of the World As We Know It (And I Feel Fine)" are not enough to make the album great, and it rests firmly as the worst record of the I.R.S. Years. (Sorry Jackhammer ;)) Key Tracks (Click to Download): "The One I Love", "Lightnin' Hopkins", "Oddfellows Local 151" 7/10 Next Step: U2 - War |
Document is definitely a different side to the band. While it was their breakout album, they managed to break the mainstream without losing any credibility in my mind. I personally would give it an 8, but this is your thread. I am just glad somebody is taking the time to discuss their albums.
I'm still not quite sure how I'd rate Green. I guess I'll take your opinion into consideration when you post it. |
Thanks for the comment, JJJ. I appreciate it.
Just to let everyone know, I'm going to be away for the next few days in New Orleans, maybe actually enjoying life for a change. Who knows. I will pick up with Dead Letter Office when I get back. cheers |
So are your "next step" albums just albums that you think were influenced by these releases?
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War came out four years before Document.
So no. The next step album is just an album with a similar sound/message, and may be a little better or a little worse. Similarity is the key. |
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Figures that U2 would be similar to the lowest rated album..... ;) |
alright... i give in. first of all i think they should be given a gold star because in my opinion nothing sans peaches comes out of georgia that is good. i like r.e.m. because i generally like bands that use a subtle vocal harmony and melodic phrasing. i; however, am not an r.e.m. fangirl because i really don't care for Michael Stipe's wailing and keening vocals. The words can be somewhat hard to understand at first listen. I like them and enjoy them... just not in my most played songs on my ipod so to say.
you asked for it. there you go. haha. |
Dead Letter Office Released 1987 I.R.S. Records http://4.bp.blogspot.com/_kkCHUk87bY...r+Office+1.jpg In the months following Lifes Rich Pageant and before the release of Document, I.R.S. Records and R.E.M. compiled a collection of B-sides, covers and alternate versions of various album tracks. In an effort to capitalize on R.E.M.'s devoted college fan base, this compilation was released as Dead Letter Office. 1. Crazy (B-Side of Driver 8 and Wendell Gee) Crazy was originally written by fellow Athens, Georgia band Pylon for their 1983 album Chomp. Like their New Jersey counterparts the Feelies, Pylon were incredibly influential to the alternative rock movement and instrumental in its evolution from post-punk to college rock. R.E.M. pays tribute with this well played cover; nearly as dark as the original but more accessible. Mike Mills bass stands out against the murky textures of Buck's guitar, making Crazy an early highlight of the compilation. 2. There She Goes Again (B-Side of I.R.S. version of Radio Free Europe) In their earlier years, R.E.M. had always had a penchant for Velvet Underground covers. While the Velvets originals are often forebodingly rough and dissonant, R.E.M.'s versions have been melodic and melancholy. Unfortunately, when they try to "rock out" to the VU and Nico classic, it simply doesn't work. Mills' harmonies are a mess; not fitting those of the Velvet Underground's at all. The original song only works because of Lou Reeds end monologue "She's gonna work it out, bye bye", and that too is missing from R.E.M.'s cover. 3. Burning Down (B-Side of Wendell Gee) The first original song on the compilation, Burning Down is actually quite good, with a catchy chorus and trademark jangley guitar licks throughout. While not stylistically in tune with Fables of the Reconstruction of Lifes Rich Pageant, Burning Down would have been well suited on the more pop inflected Reckoning. My only qualms with this song is the length. While the lyrics and instrumentation are decent, the 4:12 length is simply too long. Still, Burning Down is a highlight. 4. Voice of Harold (B-Side of So. Central Rain) Reckoning fans will love Voice of Harold, even for its somewhat gimmicky nature. Set to the backing track of the Reckoning classic 7 Chinese Bros., Michael Stipe sings the liner notes of The Joy of Knowing Jesus, a gospel album by the Revelaires. It may seem like a joke, but it's actually quite good, at least until he starts reading the "thank yous." The song is definitely a testament to Michael's inability to sing clearly... who knew he was saying "The Joy of Knowing Jesus, Produced by Joel Gentry, Cover/Backliner Design/Reesor?" 5. Burning Hell (B-Side of Can't Get There From Here) Burning Hell is either a bad joke or a horrible attempt at sounding br00tal. I've always thought that Michael's atrocious vocal delivery was parodying hair metal vocalists of the day... let's hope so, because this song is really bad. 6. White Tornado (Recorded during the 1981 Radio Free Europe sessions) This lackluster instrumental serves as proof that in 1981, Bill Berry was the only member of R.E.M. who could actually play an instrument. 7. Toys in the Attic (B-Side of Fall On Me) Wow, thank god this arrived when it did! On paper, R.E.M. covering Aerosmith sounds like a joke. However, somehow this cover is incredible! The instrumentation is very tight, with a stellar guitar solo and a grooving bassline. R.E.M. are in top form here, keeping the song under three minutes and breathing new life into a tired "classic". Not only is it perhaps the best song on Dead Letter Office, this cover was one of my favorite childhood songs. 8. Windout (From the Bachelor Party soundtrack) Remember the live version of Windout from the Reckoning reissue? That was some hardcore playing, and one of the most raw performances put to tape by the band. Unfortunately, this studio take is soulless and boring, but serves as a testament to the power of a live show to make better any song. 9. Ages of You (B-Side of Wendell Gee) Another song that would have fit well on Reckoning, Ages of You is slightly better than Burning Down, with a better chorus and imagery filled lyrics that give it the edge. The syncopation of the guitar and bass in the bridge is nice also. As a result, Ages of You is the best R.E.M. original on Dead Letter Office. I just wish I could understand the chorus beyond the "ages of you" line. The rest sounds like "Wadada da da eh" 10. Pale Blue Eyes (B-Side of So. Central Rain) The Velvet Underground's 1969 original version of Pale Blue Eyes is one of the saddest and simply greatest songs ever. R.E.M.'s version begins similarly, with a hushed and fragile Michael Stipe delivering that unforgettably paradoxical opening line "Sometimes I feel so happy, sometimes I feel so sad." However when the chorus comes around, Peter Buck's guitar tracks chime to Berry's confident drum, making the song a much livelier countrified track. Since the original is so heartbreaking and this version is so upbeat, one might think it blasphemous. However, something about this version saves it, making it one of my favorite Velvet Underground covers. Also, Peter Buck's guitar solo > Lou Reed's. 11. Rotary Ten (B-Side of Fall On Me) Rotary Ten is another somewhat pointless instrumental that does little else than showcase Peter Buck's guitar abilities, which sound pretty good here. It's also more than a little Tom Waits-y. 12. Bandwagon (B-Side of Can't Get There From Here) This song was co-written by Michael's sister Lynda of the band Oh-OK, whose complete discography record is pretty good. This song, however, is bland and boring, and Michael's affected southern accent is annoying. 13. Femme Fatale (B-Side of Superman) Femme Fatale is yet another classic Velvet Underground song, originally sung by Nico on the Velvets' debut record. I actually prefer Michael's vocal, as well as Mill's understated harmonies to the original version. The guitar line is classic R.E.M., but not to the point that it detracts from the song's innocent beauty. 14. Walter's Theme (B-Side of So. Central Rain) This song is so stupid. Apparently they were drunk when the band recorded this. Stipe is rambling in the backround, and I don't know what's going on. 15. King Of The Road (B-Side of So. Central Rain) This is equally stupid as Walter's Theme but much more fun and kind of hilarious. I think that this song, a cover of Roger Miller's 1965 hit is meant as a joke. Apparently it was recorded when they were drunk as well. In summation, R.E.M. are simply not a b-sides band. Many of these songs, while fun, are not nearly up to par with their album material. However, the few quality songs present are enough to make this compilation worthwhile. Key Tracks (Click to Download): "Crazy", "Ages of You", "Pale Blue Eyes" 5/10 |
In 1988, the chips were beginning to fall into place for R.E.M. Riding on the success of Document and the top-ten single The One I Love, the band was on a fast track towards mainstream popularity. Seeking to capitalize on this ever growing popularity, I.R.S. Records and R.E.M. released Eponymous, the band's very first "Greatest Hits" collection. Eponymous is a compilation of many of the more accessible songs of the I.R.S. Years, omitting dirge-like classics such as Feeling Gravity's Pull and Pilgrimage in exchange for poppier tunes like Gardening at Night and So. Central Rain. As a result, it is perhaps not the greatest representation of R.E.M.'s early sound. While undeniably good, the songs fail to encapsulate the feelings provoked by the full albums themselves. Still, Eponymous serves its purpose as an accessible and worthy entry point to the great band that is R.E.M. 1. Radio Free Europe (Original Hib-Tone Single) Eponymous kicks off with R.E.M.'s first ever single, the original version of Radio Free Europe from 1981. Miles better than the Murmur version, this Hib-Tone cut is filled with pure, raw energy; something that R.E.M. would have trouble perfecting again until 1996. This version of Radio Free Europe also wins for having the least understandable vocal take of all time. It almost becomes funny. 2. Gardening at Night (Different Vocal Mix) One of the great songs on R.E.M.'s debut EP Chronic Town, the original version of Gardening at Night is lyrically masterful; fast paced, yet restrained. This alternate version, complete with a different vocal take sounds anxious, rushed, and at times frantic. With a more emotional vocal, the song takes on a different meaning: less a story, and more an artistic statement. 3. Talk About the Passion Such mature beauty lies within Talk About the Passion, perhaps the defining track from 1983's Murmur. I question the melancholy nature of Stipe's vocal. Is this folk music for the Reagan years? Some anthem of teenage apathy to end it all? "Empty prayer, empty mouths", he sings, "Not everyone can carry the weight of the world." But does he care who does, or if at all? Perhaps that is the central idea of this glorious song. I also happen to think that it is the greatest pop single of all time, but that's just me... 4. So. Central Rain The centerpiece of Reckoning, So. Central Rain is entirely responsible for R.E.M. attaining mainstream success. While songs like Gardening at Night are catchy and easy to sing along with, the anthemic and all-encompassing chorus of So. Central Rain is so relatable to their fan base that I insinuate it is one of the best of all time. "I'm Sorry" These words, overspoken and overwrought with broken hopes and rejected desires, are transformed into something greater. Michael Stipe sings with an unforeseen vigor, backed by a rhythm that makes So. Central Rain a landmark song in the progression of music. 5. (Don't Go Back To) Rockville One of the key tracks on Reckoning, Rockville was one of R.E.M.'s best early pop songs. Written by Mike Mills about a girlfriend in Rockville, Maryland, the song is an honest and well executed plea to bygone lovers. The song is rooted in country influence, with a catchy piano line and a vocal sung in trademark southern accent. Peter Buck's guitar is unmistakable as well, and gives it the R.E.M. sounds it needs. 6. Can't Get There From Here There are many reasons why I love Fables of the Reconstruction. As an album, it is entirely cohesive, generating a feeling of catharsis by its completion. Better still is that while undoubtedly better suited for listening as a full album, it has many tracks that work very well by themselves. Can't Get There From Here, unfortunately, is not one of them. While undeniably catchy and easy to like, a deeper insight reveals flaws, most notably... why are R.E.M. trying to do a funk tune? Nevertheless, the lyrics redeem it. I've always loved the "Philomath is where I go by dawn" line. 7. Driver 8 This, on the other hand, is one of those standalone Fables tracks that really works. Peter Buck delivers a riff better than anything he ever did before or since on this song, and with an austere vocal completed with mysteriously dark lyrics, Driver 8 ranks among R.E.M.'s very best songs. 8. Romance These days, Romance gets a lot of love only as a treasured forgotten and unknown R.E.M. song. Like the few and far between great songs on Dead Letter Office, Romance is still just not that good. Ages of You is better anyway, but for completists, Romance is still essential. 9. Fall On Me Of all songs in their canon, Fall On Me holds a special place in my heart as the R.E.M. song that has spent the most time as my favorite. This song, a classic from Lifes Rich Pageant really is one of the defining moments of their early career. Melodic, sweet, yet mature and multi-dimensional, Fall On Me is perfect, and a much needed down-tempo piece on this upbeat compilation. 10. The One I Love Overplayed into oblivion on alternative stations, a fresh listen to the Document centerpiece reveals a track legitimately worthy of such high praise. It demands to be played loud, as Michael screams "Fire!" over Peter Buck's dominating riff. Hipsters love it too, because it's all about irony! :laughing: 11. Finest Worksong (Mutual Drum Horn Mix) One of my issues with Document was producer Scott Litt's choice to turn up Michael's vocals. On the original version of Finest Worksong, this wasn't an issue, as the drums helped to balance out the louder vocal. However, this mix has the drums turned down, making Michael's vocals sound forced and annoying at times. The horns sound incredibly dated as well, and when coupled with Mills' awkward harmonies, the end result is a failure. 12. It's The End of the World As We Know It (And I Feel Fine) I've gone through bouts of loving this song and disliking it vehemently. Perhaps that's all that needs to be said. Some days, this song just pisses me off. Other times I just have to sing along. Overall, this is a fair collection of the more accessible side of R.E.M.'s work from 1981-1987. The songs here are good if not great, and it serves its purpose as a compilation. Key Tracks (Click to Download): "Radio Free Europe (Original Hib-Tone Single)", "So. Central Rain", "Driver 8" 8.5/10 |
Nice track-by-track walkthroughs. I ripped my library's copy of Dead Letter Office and haven't listened to it very much. I suppose I should revisit it.
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Yeah, I figured I would rate compilations on a track-by-track basis, as well as commenting on their effectiveness as a compilation. And despite my rating, there's definitely material worth getting from Dead Letter Office. The CD version also has Chronic Town tacked on the end, so if you don't have Chronic Town, that alone is reason enough to buy it.
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Well there you have it, folks. Such were the I.R.S. Years.
It is my personal belief that from 1981-1987, R.E.M. created some of the greatest music of all time, and I hope that through this thread, you have learned to appreciate them as I do. At the request of Rezz, I have prepared a compilation of some of my favorite tracks from this era, which I call Rick's Essential R.E.M. Volume 1: The I.R.S. Years. The tracklisting is below. Essential R.E.M. Volume 1: The I.R.S. Years http://i331.photobucket.com/albums/l...oreCc/REM2.jpg Radio Free Europe (Original Hib-Tone Single) [1981] Harborcoat (Reckoning) [1984] Pilgrimage (Murmur) [1983] Wolves Lower (Chronic Town) [1982] Talk About the Passion (Murmur) [1983] Camera (Reckoning) [1984] I Believe (Lifes Rich Pageant) [1986] Oddfellow's Local 151 (Document) [1987] Driver 8 (Fables of the Reconstruction) [1985] Feeling Gravity's Pull (Fables of the Reconstruction) [1985] Carnival of Sorts (Box Cars) (Chronic Town) [1982] Perfect Circle (Murmur) [1983] Swan Swan H (Lifes Rich Pageant) [1986] Wendell Gee (Fables of the Reconstruction) [1985] >LINK< I hope you enjoy! That said, I do think that the best way to view this portion of the band's career is on an album-to-album basis. Make sure you pick up some of these records, they could change your life. Thanks for reading so far, and tune in for the next installment, R.E.M.'s major label debut record Green! |
Terrific analysis. Chronic Town and Murmer where spectacular albums, but I was a little disappointed by the cleaner production of Reckoning, as well as its shorter running time. You could actually understand the lyrics which, form me, lost a little bit of the mystery and emotional impact of the vocals. Still solid, though, their first three + Chronic Town being their best recordings. I picked up the Feelies "The Good Earth" after reading your Fables reviews. What a great record! It reminds me a little bit of Dream Syndicate and Meat Puppets.
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That's absolutely fantastic to hear, Almauro! Thank you for reading and even more so for commenting.
Also, it's great to hear that you liked the Feelies record I wrote about. It's really fantastic throughout, and I think you can hear the Fables influence on it. I'm actually seeing the Feelies on march 20th believe it or not. I hear they throw a great live show so I'm really excited. I'll let you know how it goes. |
Good mix there...
I would also recommend And I Feel Fine...The Best of the IRS Years. That's what got me interested in their pre-Warner material. |
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I'm doing things chronologically, for the most part. |
I have a hard time imagining everything that R.E.M. puts out is god like material.
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Hmm. Certainly not everything, no. However, those first four LPs really are incredible. Nearly perfect I'd say. Please don't let any preconceptions you may have interfere with your views on the band. Check out those albums if you don't believe me.
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No No, I'm not letting your opinion get in the way. I have those albums, I don't particularly like them. That is not to say R.E.M sucks, but they are not my cup of tea.
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Right then, thanks for your input.
1988 found R.E.M. at something of a crossroads. With a major record deal from Warner Brothers and a top ten single, the band seemed poised for mainstream success. In this way, it would appear that retaining the political role that R.E.M. had adopted with Document was in the best interest of the band commercially speaking. With this in mind, the follow-up "Green" could have easily been a sort of Document 2.0, less energetic, more polished, and written with less anxiety and currency. Thankfully, while their political/environmental message is not abandoned entirely on Green, it is approached with a certain resolve and maturity not seen from R.E.M. up to that point. Whenever the Document formula is not fully dropped, it is amended and improved. Roughly a third of the songs present on Green are upbeat rocking political anthems, but where this method produced largely mediocre songs on Document, tracks like the pulse-pounding Orange Crush work quite well. The secret lies in the production, which is murkier than Document yet still resonating. On Orange Crush, producer Scott Litt, with whom R.E.M. worked on Document, mixes in sounds of helicopters and muttered words, adding to the overriding anti-Vietnam theme. With Litt's production, guitars sound heavier, drums more machine-gun like, and bass more determined to the point where the more upbeat songs on green simply blow Document out of the water. Orange Crush, for all its anthemic fist-pumping fervor is not even the best of the bunch, as the following song Turn You Inside-Out is even more visceral and engagingly aggressive. "Divide your cultured pearls in haste I'm looking for to lay to waste" Stipe jeers, with the only believable kiss-off he has made to date. Mike Mills, ever distant sounding, still offers a remarkable backing vocal, supporting Michael with a resounding "I believe in what you do!" On the whole, Turn You Inside-Out is everything Document sought to accomplish, and an absolute highlight. Juxtaposed against these angry and well made anthems is the majority of Green: down-tempo meditations of mandolin and organ, perhaps no less politically or environmentally conscious than their rocking counterparts but exponentially more mature and lyrically well developed. Rife with images of the outdoors, woods and fields, these songs seem to channel the classic "Fables of the Reconstruction" and "The Good Earth." Some of the material is so good that it would be at home on either of those records, such as the achingly gorgeous You Are the Everything. As crickets chirp in the background and the mandolin riffs a beautiful pattern, Michael Stipe and Mike Mills sing their most romantic song to date. With repeated listens, You Are the Everything quickly reveals its nearly unmatched brilliance. Nearly on par with You Are the Everything is the underrated Untitled album closer. Slightly more upbeat musically and lyrically, Untitled reads like a call to arms if not an honest decree of romantic devotion. "The world is big and so awake", he sings. "I stayed up late to hear your voice" With two great counterparts, Green's largest issue is its failure to tie the two together. Attempts at finding a middle ground are few and far between on the record, and for the most part they do not succeed in connecting the firey with the contemplative. The catchy single "Stand" and the cheerful "Get Up" try, but ultimately succumb to the irony and forced nature of their own shimmering joyfulness. However, one song stands out as the perfect balance between Green's two very different personalities. "World Leader Pretend" is a reflection more than an anthem; a conflagration of emotion somehow detatched from any sense of aggression yet perfectly constructed lyrically and musically. It is the triumph of a band that never knew a direction, and the ultimate point of maturity for R.E.M. There are many things that are great about Green, but the sum of its parts are greater than the whole. As an experiment, Green was well executed. However due to a lack of cohesion, it is merely a good record that happens to display some incredible material. Key Tracks: "You Are the Everything"; "World Leader Pretend"; "Turn You Inside Out" 7.5/10 Next Step: The Decemberists - Castaways and Cutouts |
Green seems to be my least favorite of the major label albums they put out before Berry left the band. Maybe I should give it more of a listen because it is really a pretty good album. I agree with your review for the most part.
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The review of Green is spot on. Here's an interesting thing Peter Buck said about the development of "Untitled" in Reveal: The Story of R.E.M. by Johnny Black:
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That's a great story though. I always thought there was something off about the drums in that song. |
With the help of your very knowledgeable guide I`ve decided to listen to everything by R.E.M once again, as they were always a band that I never really warmed to before, this guide has now gotten me to see them from a very different perspective, so here is my opinion on their albums:
Chronic Town (EP):A great intro to the band with its jangly and rather upbeat feel. Murmur: Radio Free Europe was always a song that I liked from before, but could never quite get into the debut album before this recent listen and really appreciate it like so many people do. Its very different to "Chronic Town" as on the one hand the style of sound is there, but instead of building off the EP the group seem to go more into themselves, making the whole thing sound vague and impenatable at times but also with an air of mystique. Its this sound, that now makes this album for me a classic after countless previous listens. Reckoning: Its here the group now go back to the initial sound of Chronic Town and build off this. It has a more upbeat and accessible sound than Murmur and its on this album that I really get to hear the sound of each individual memeber of the band in their full glory, in many ways this could be the definative album by the band, again a classsic album. Fables of Reconstruction: I read this was a dividing album amongst R.E.M fans, what makes it interesting, is that they changed their recording habits for this album and went to the UK to record an album based around the history of the deep south! Strangely enough, this was an album that I liked from before. It has a very accomplished feel to it and also contains some very endearing songs, but despite all this brilliance, I`m still undecided weather its as great as the previous two releases or in fact it could be better!!! As you say its a very deep album that gives over to a lot of listens to try and find its true genius. More updates as I dissect the R.E.M beast:laughing: |
Good to hear that somebody's benefiting from this thread, Unknown Soldier. I look forward to your analyses.
The next review will be one of R.E.M.'s live Tourfilm DVD, recorded over the Green Tour in 1989 and released the following year. I'm off to Jamaica tomorrow so the likelihood of that review being completed before then is slim at best. In other R.E.M. related news, the Feelies, who reunited in 2008, are touring the east coast again! Better yet, I'm seeing them tonight here in Connecticut. I'm super excited for that, as I've heard they're fantastic live. Cheers |
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Have fun in Jamaica! |
Fables of Reconstruction is still lingering in my mind..................so I think that says something about its quality.
Lifes Rich Pageant-A return to the more upbeat formula of Reckoning and again as you`d expect by these four album veterans, another very accomplished bit of work. I know from looking at reviews of this album and from hardcore R.E.M fans, the vast majority of them, seem to view this album as the bands best ever work!!! Despite seeing its quality, its probably my least favourite of the first four releases. When I listened to this my version had some extra tracks on it and one was an excellent cover of the Aerosmith song "Toys in the Attic" Document-A lot seems to be made of this album, the last with the original label and their first foray into the commercial market proper and the sound on this album typifies that. Agree with Rickenbacker that Mike Stipes vocals having been pushed to the forefront and the instruments of the band pushed into the background, and for this reason the group lose a lot of their unique magic. Instead the band lose that signature poppy/jangly sound giving over to a more rock orientated sound, to compensate for these negatives though, the songs are superb and for this reason I would still give this album as somebody else suggested an 8. Its about this time that that R.E.M broke big time into the UK market, I remember it. |
About time I got this started again.
Tourfilm Released 1990 Warner Bros. Records http://1.bp.blogspot.com/__HjqXAVlmB...Untitled-1.jpg That better not be styrofoam, pal. In support of their first major label record, R.E.M. embarked on their first world tour in 1988. Shows on the Green Tour found the once-unknown Athens Georgia band playing stadiums and selling out arenas for the first time. This change in scope would force the band to take a different approach to performing live, and noticeable changes in the band's confidence and playing ability can be observed on this film, known simply as Tourfilm, which documents an arena show from 1989. The tracklisting and more, after the jump. 1. "Stand" 2. "The One I Love" 3. "So. Central Rain (Detail)" 4. "Turn You Inside-Out" 5. "Belong" 6. "Orange Crush" 7. "Feeling Gravity's Pull" 8. "These Days" 9. "We Live As We Dream, Alone/World Leader Pretend" 10. "Poem: I'll Believe In Anything When I'm There.../Future 40's (String of Pearls)/I Believe" 11. "I Remember California" 12. "Get Up" 13. "It's the End of the World as We Know It (And I Feel Fine)" 14. "Pop Song 89" 15. "Fall on Me" 16. "You Are The Everything" 17. "Begin the Begin" 18. "With the People" 19. "King Of Birds" 20. "Low" (Detail) 21. "Finest Worksong" 22. "Perfect Circle" 23. "After Hours" (credits) Tourfilm opens with a bang. Before the foot tapping organ riff of "Stand" comes in, the listener hears the roar of a massive crowd cheering on their favorite band. Incidentally, this caught me off guard. Because of this project, I've been listening to R.E.M. chronologically. Before I popped in the audio CD of Tourfilm, I had effectively begun to think of R.E.M. as anyone else might have in 1988. I imagined R.E.M. playing small bars and clubs across the country, not stadiums and arenas. When the thundering roar of the crowd came in, that all changed. Tourfilm finds R.E.M. at the very moment at which their career was about to take wing. Listening, I find that the reason R.E.M. was the most successful of the college rock bands was that they were willing to adapt and change. While contemporaries The Feelies were breaking little new ground with "Only Life" (1987) and Pylon had all but given up hopes of a new record, R.E.M. was refocusing their talents, turning up the megaphone, and blasting awesome new music to a new world audience. Rarely does the band look back. The only song from Murmur performed here is the beautiful Perfect Circle, and while So. Central Rain is represented, it is merely a segment of the song. Rather, R.E.M. uses Tourfilm as a vehicle to document their moving forward. A demo version of the Out of Time (1991) classic "Low" is present, as well as a performance of the much maligned "Belong", which would later appear on the same album. Personally though, I think the song is pretty good, especially this live version, free from any overproduction. With this forward thinking attitude, the band really shines on Green/Document Era classics such as the anthemic "Orange Crush." Prefaced by a sarcastically sung "BE ALL THAT YOU CAAAAAAN BE... IN THE ARMY", the band launches into this upbeat song with a certain visceral energy. Not the immature punk energy of a band just getting on its feet, but rather the channeled energy of a band with a purpose and a proven method of conveying their message. As the drums pound and Buck's dirty riff repeats, Michael sings into a megaphone while the crowd whoops and shouts like a machine. The performance is perfect, and the message is clear. R.E.M. were ready to truly take on the world. For Document songs like Finest Worksong, the mixing problems present on the studio versions are cleaned up, and more energy is put into them, revealing the true quality of the songs, and their place on the live stage. As a stadium rock show, many of the songs performed on Tourfilm are more upbeat, up-tempo numbers. While these are nearly all well done, with the exception of the mediocre performance of "Stand", some of the best moments appear on the lighter side of the show. Prefaced by a poem, the countrified World Leader Pretend rings beautifully onstage. Similarly, Fall on Me and You Are the Everything are played with serene beauty not usually found at shows the scope of Tourfilm. Even the organ-led Murmur classic Perfect Circle sounds fresh and beautiful. That said, the best performance has to be that of the epic "Feeling Gravity's Pull", the nightmare inducing song from Fables of the Reconstruction. Peter Buck's guitar tone is as haunting as ever, and as the song picks up, the band leaves their comfort zone in a way that was only then possible. Even the gorgeous bridge section shines brilliantly amidst the jagged-edged verses. All in all, I would argue that Tourfilm lacks cohesion if only it weren't so damn awesome. Many of the songs sound even better here than in studio, which is saying something, given R.E.M.'s usually excellent production. A great live film/record. Key Tracks: "Orange Crush", "Feeling Gravity's Pull", "We Live As We Dream, Alone/World Leader Pretend" (for the audio only) 9/10 |
Great review, I thoroughly enjoyed the read and the video. Being a half-assed R.E.M. fan like I am, I should probably own this, but I don't. Although I own most of their albums, this has somehow eluded my collection. But thanks to your review, it is now on my shopping list.
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Great review. I haven't a single live release from the band. I feel kind of embarassed because of it.
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>>In response to Murmur review, still working my way thru the thread:
Great review, I'm a massive R.E.M. fan and looking forward to New Adventures and Reckoning. Love what you had to say about Perfect Circle, I heard Bill Berry wrote that song, I'm sure I actually heard Michael say that before playing at one of the more recent gigs. |
Thanks a lot, you four. Out of Time is next. Review should be up in a few days.
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Great reviews, completely agree with your opinions on Reckoning, and think I might need to dig out my Tourfilm DVD tonight, haven't seen it for ages.
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Great thread Rickenbacker you can tell that you are outstandingly passionite about the band and Reckoning is my favourite album of thiers too with Lifes Rich Pageant as a close second I never got into thier Warner Brothers albums but may buy a few after your reviews when you post them.
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Starting to get quite addicted to this thread, am constantly checking for the next one, so hurry up ;-)
Dug out New Adventures the other night and started listening to it again, I remember the first time I heard Undertow and thought it had one of the best bass lines ever. |
Sorry for the wait, I was waiting for the right day to listen to this album again.
Out of Time Released 1991 Warner Bros. Records http://2.bp.blogspot.com/_kkCHUk87bY...+of+Time+1.jpg Near Wild Heaven... not near enough. I'm sitting outside on the fourteenth of April in pleasant New Haven, Connecticut. The sun is shining through the virgin green buds of the Linden trees, casting a shadow upon the front porch on which I sit, laptop by my side. Bees buzz in the breeze, too placid to sting or even move. The temperature is a beautiful 73 degrees Fahrenheit, and R.E.M.'s 1991 record "Out of Time" is playing. These are the days for which this album was made. I think I'm happier than I've been in months. What changed? Such is the paradox of Summer, the season during which one's troubles seem to simply drift away, as if they were never even there. The key to making what we know of as a "Summer Album" is to emulate this very feeling. The group's previous LP Green presented them with two very different possibilities as to what path the band could go down musically. Green's raucous arena rock songs and quiet, contemplative ballads were both executed well, and it seemed left up solely to the band's wishes which they would choose, keeping in mind that the choice would effectively define the sound of their Warner Brothers Years output. After the success of their 1989 World Tour, R.E.M., exhausted from the previous decade of near-constant recording and touring (they released a studio album every year from 1982-1988, touring constantly in between), took a year long break for the purpose of assessing their options and their effective position as a mainstream-fringe recording artist. The result? A shimmering, glorious record which, despite a few glaring issues, represents the pinnacle of R.E.M.'s career musically and production-wise. Songs like Texarkana, on which Mike Mills sings lead, glow with a fresh, lush sheen that appears to sound neither dated nor radically forward-thinking. With a prevalent Pet Sounds-era Beach Boys influence, the oft-maligned Belong and Shiny Happy People are actually pretty good songs when not taken seriously. They're kind of, well...dare I say happy? Indeed, happiness is a key theme on Out of Time. Another Mike Mills lead, Near Wild Heaven rings with hints of Lifes Rich Pageant. It's springy piano line conjures thoughts of Hyena and What if We Give it Away? Like those on Lifes Rich Pageant and Green, the songs present on Out of Time feature rich and diverse musical accompaniment. Organs, horns and harpsichords adorn many songs, while classical violins and cellos provide the backing for the whole album. Incidentally, the two songs that feature lead mandolins are among the very best on the record. One is the achingly beautiful "Half A World Away," perhaps the most sincere love song R.E.M. will ever write. During what is by far his best vocal performance up to that point, Michael Stipe sings: "Oh this lonely world is wasted Pathetic eyes high alive Blind to the tide that turns the sea This storm it came up strong It shook the trees And blew away our fear I couldn’t even hear" The other song, of course, is the legendary and immortal "Losing My Religion", a song the likes of which the world will never again experience. Losing My Religion is the best pop song of the 1990s simply because it defies the conventions of a pop song. Yes, it was Losing My Religion, not Smells Like Teen Spirit that first "broke the mainstream" for alternative music, and this song is just as anthemic without ever losing its musical credibility. For me, Losing My Religion defines the emotion and spirit of the nineties, but never stops influencing me as a child of the aughts. No, the world will never know another Losing My Religion, but thankfully we can appreciate it now. Oh, and I love the music video in all its borderline-pretentious arthouse glory. Indeed, Out of Time has very brilliant moments full of transcendent beauty. Why then, does it never reach its deserved heavenly goals? For one thing, some songs are just not up to the high bar set by classics such as Losing My Religion. The "funky" opening tune "Radio Song", featuring an inexplicable guest performance by rapper KRS-One is a near disaster, saved from utter failure only by the brief moments during which KRS is, well, not present. In addition, the instrumental "Endgame" strives for "Fall Breaks and Back into Winter", but due to its length, borders on boring and pointless. Most importantly, however, I find myself hating "Out of Time" most months of the year, simply because it truly only works as a Summer album. Today was perfect for this record, but as recently as last week I would have found myself disappointed by the thick production and spotty songwriting present. Taking this into account, the only thing that bumps "Out of Time" from being just an average album is the dark, dirge-like tenth track, an often overlooked number called "Country Feedback." This song's dark lyrics and rough musicianship would fit right at home on "Fables of the Reconstruction," and sounds like a lost classic as a result. Incidentally, Country Feedback actually hints at a very different future for R.E.M.; a future that would be met with very mixed reactions from fans and critics. Ah well. In the end, Out of Time certainly serves a purpose. I've listened to Out of Time three times in the time it took to write this review, and I've enjoyed every minute of it. Key Tracks: "Losing My Religion", "Half a World Away", "Country Feedback" 7/10 Next Step: The Beach Boys - Pet Sounds |
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Oh and good reviews and stuffz. |
Thanks for that great review of Out Of Time. The song Losing My Religion takes me back to when I was a young kid. Rather, the whole damn album brings back good memories. I was just a year old when this record came out, so I grew up with it. Half A World Away is one of my most favourite songs by REM, and (if you don't mind) I must share this beautiful acoustic performance from 1991 on MTV:
The other dude playing guitar with Peter Buck is Peter Holsapple, the guitarist from fellow Athens band the dB's. Mike Mills is on organ here and Bill Berry is on bass. |
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