Talk About the Passion - R.E.M.'s Discography Reviewed
- Thread starter Dave o
- Start date
Super_Duper_Star 26
New member
Murmur
Released 1983
I.R.S. RecorRAB
Released 1983
I.R.S. RecorRAB
Well here it is. R.E.M.'s debut full length record was released in 1983, shocking fans and critics with its masterful blending of Feelies jangle-pop and haunting lyricism delivered in Michael Stipe's austere mumble. For many, the buck stops here for R.E.M. With iconic songs like "Talk About the Passion" and "Radio Free Europe", Murmur is widely seen as the crowning achievement of the band and among the greatest and most significant debuts in music.
Mixed so that no instrument would stand out, Murmur may not reveal its excellence upon first listen. While the album certainly has its share of on-target and upbeat college pop songs a la Chronic Town, such as the undeniably catchy and equally indecipherable "Catapult" and the single "Radio Free Europe", which was re-recorded for the album at the request of I.R.S. recorRAB, Murmur's genius lies in the tracks in which the band steps back and sets their angst aside.
"Take a turn, Take our fortune"
Such is the opening line of "Pilgrimage", expertly delivered by a distant sounding Mike Mills, bassist and backing vocalist for the band. With this cryptic line, the song descenRAB into a plodding bass-led masterpiece about none other than a two-headed cow. "Speaking in tongues/ it's worth a broken lip", Stipe sings. Perhaps there is a grain of truth to this statement. Murmur's lyrics may be nonsense when read aloud, but in the context of the album they fit perfectly. Unlike any other album up to that point, Murmur managed to be vocally overwhelming based not on the talent of the vocalist, but on the mystical nature of the lyrics. As such, Michael Stipe is a brilliant lyricist. Not in the conventional sense of course, but rather in his sheer ability to make a piece like "Pilgrimage" make some sense.
Murmur's diversity is exemplified in its experimentalism. Sure, Pilgrimage is wild for its mysticism, but even stranger still is the incredibly beautiful "Perfect Circle". It is easy to dismiss "Perfect Circle" as a simple slow ballad, but it is so much more than that. I may go far as to say that it's my favorite R.E.M. song, if only for it's stunning ability to convey so much with so little. Again, it's not hard to dismiss the song, but it's really one of the best out there. As with any good song, when given repeated listens, one notices certain aspects that you never realized before. The song begins with a hypnotic and accessible, yet strangely different sounding keyboard which is played throughout. Second, that chorus is absolutely gorgeous. "Standing two soon, shoulders high in the room"? That might be the most gorgeous line Stipe has sung even if only for it's delivery. Thirdly, the guitar comes in towarRAB the end and the sound is incredible. Peter might be using an E-bow here. Not totally sure, but the effect is ethereal. Also, by the middle, the drum mix switches from left to right in this really cool way. Not sure how else to describe it. Anyway, it's a beautiful song, but much more than just that. That's what I really love about R.E.M.; their ability to create something beautiful that isn't... just another beautiful thing. Amazing.
All of this of course is not to dismiss the quality pop songs present on Murmur. "Shaking Through", "Catapult" and the stellar album closer "West of the FielRAB" are all highlights, and I still maintain that the single "Talk About the Passion" is the best pop song ever made. The string arrangement is fantastic, and the song is one of the few examples under I.R.S. RecorRAB that Michael's lyrics are (nearly) conventionally beautiful and his delivery clean and intelligible.
"Not everyone can carry the weight of the world"
That's a great lyric. And this is a great record. But what did you expect? It's Murmur! And it is every bit as great as it is hyped to be.
Key Tracks (Click to Download): "Pilgrimage", "Talk About the Passion", "Perfect Circle"
10/10
[YOUTUBE]zCMy6kq5ZA0[/YOUTUBE]
Next Step: Violent Femmes - Hallowed Ground
[YOUTUBE]zCMy6kq5ZA0[/YOUTUBE]
Next Step: Violent Femmes - Hallowed Ground
thegubmint
New member
You finally got started with this, I've been needing a R.E.M review thread like this for months.
Keep'em coming :thumb:
Keep'em coming :thumb:
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:
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:
I'm in no mood to make a cogent point right now but if you consider this album a 10/10 then your previous 10/10s don't mean much because this is certainly not a perfect album (not even close). I don't like the MM comparison either
Obviously you are a fanboy but this is too much. I do like the album btw - it's just that most of it's shit compared to a lot of their older stuff. Truly
Obviously you are a fanboy but this is too much. I do like the album btw - it's just that most of it's shit compared to a lot of their older stuff. Truly
Sorry for the wait, I was waiting for the right day to listen to this album again.
I'm sitting outside on the fourteenth of April in pleasant New Haven, Connecticut. The sun is shining through the virgin green buRAB 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 ballaRAB 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 SounRAB-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 harpsichorRAB 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 sounRAB 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"
Out of Time
Released 1991
Warner Bros. RecorRAB
Near Wild Heaven... not near enough.
Released 1991
Warner Bros. RecorRAB
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 buRAB 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 ballaRAB 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 SounRAB-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 harpsichorRAB 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 sounRAB 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
[youtube]if-UzXIQ5vw[/youtube]
Next Step: The Beach Boys - Pet SounRAB
[youtube]if-UzXIQ5vw[/youtube]
Next Step: The Beach Boys - Pet SounRAB
hitbrownie
New member
I agree with you 100% on Fables. It's an excellent album, and a genuine piece of art right down to the cover.
Lifes Rich Pageant, in my opinion, has been largely underrated. I think it kind of got swept away after the release of Document.
Lifes Rich Pageant, in my opinion, has been largely underrated. I think it kind of got swept away after the release of Document.
Zombie King
New member
Thanks for the great review of the live disc from the deluxe edition of Murmur. I love the early live shows, and especially since this one was recorded in Toronto. Larry's Hideaway and the building it was in are long gone though, sadly, but in it's day it was a great place for U of T students to visit.
Does anybody know if there was a recording done of a show they played at Barrymore's in Ottawa, Ontario around the same time as the Toronto show, in 1983? Just wondering.
Does anybody know if there was a recording done of a show they played at Barrymore's in Ottawa, Ontario around the same time as the Toronto show, in 1983? Just wondering.
Eponymous
Released 1988
I.R.S. RecorRAB
Released 1988
I.R.S. RecorRAB
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 towarRAB mainstream popularity. Seeking to capitalize on this ever growing popularity, I.R.S. RecorRAB 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 sounRAB 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 worRAB, 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. sounRAB it neeRAB.
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 holRAB 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 demanRAB 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 neeRAB to be said. Some days, this song just pisses me off. Other times I just have to sing along.
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 sounRAB 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 worRAB, 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. sounRAB it neeRAB.
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 holRAB 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 demanRAB 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 neeRAB 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
[youtube]47DYVhBgRmQ[/youtube]
[youtube]47DYVhBgRmQ[/youtube]
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
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
thekatzman
New member
http://www.svs.com/zim/boots/myboots.txt
This guy a show there from 85, but obtaining it will be a mess.
By the way, the Reckoning Deluxe Edition live show review will be up within the next few days if not tomorrow. Thanks again for reading!
This guy a show there from 85, but obtaining it will be a mess.
By the way, the Reckoning Deluxe Edition live show review will be up within the next few days if not tomorrow. Thanks again for reading!
Whittney21
New member
I think a significant factor in the formation of my opinions regarding an album is my personal experience associated with the album. Consequently, this is a factor in my rating system as well. I understand that different people have different standarRAB and different opinions and I wish you would respect mine. Thanks. For christ's sake, the rating doesn't even matter anyway. Isn't the review far more important?
Also, I chose that Modest Mouse album because I think both albums have a similarly dark, cold feel to them, and both deal with themes of death and isolation.
And I don't think that most of it's "shit" I think it's a great album, though very different from much of their IRS stuff. I'm sorry you don't feel the same way.
Also, I chose that Modest Mouse album because I think both albums have a similarly dark, cold feel to them, and both deal with themes of death and isolation.
And I don't think that most of it's "shit" I think it's a great album, though very different from much of their IRS stuff. I'm sorry you don't feel the same way.
uhhhhhhIDK
New member
Fables is a really strong album. It took me a few listens to really sink into it. I agree that Lifes Rich Pageant is like a complete reversal. Some of the songs on the latter, while immediately catchy, didn't strike me as "great" for some reason though. Either way, both albums are brilliant.
I admit due to a lack of enthusiasm of others, some of their albums I have not gotten around to listen to. These being albums that come much later in their progression, but I always seem to find something to like about all of their albums that I have heard.
I admit due to a lack of enthusiasm of others, some of their albums I have not gotten around to listen to. These being albums that come much later in their progression, but I always seem to find something to like about all of their albums that I have heard.
the1 with da answers
New member
Rickenbacker: This may be a bit much of a request, but would you be down with making a compilation album of there discography. Basically picking 12-15 tracks from there studio, live, bootleg, or whatever sources you may have?
I have been trying to get into REM lately and so far its been just a jumbled mess.
I have been trying to get into REM lately and so far its been just a jumbled mess.
Finally...
Recorded in 1991 and released later that year, "Blue" is an unauthorized audio release of R.E.M.'s 1991 MTV Unplugged session. For those of you unfamiliar with the "Unplugged" format, it is fairly simple. BanRAB are invited by MTV to play stripped down versions of some songs of their choice without the use of electric instrumentation. Some of these songs that are performed are aired on TV, and audio bootlegs of the full shows sometimes surface. Occasionally, these performances are released officially. Nirvana and Eric Clapton have both released official Unplugged albums to critical acclaim. R.E.M. performed two Unplugged shows, one in 1991 and another ten years later. Neither of these performances were officially released, so the quality is less than stellar on both. Nevertheless, their first Unplugged show "Blue" provides an interesting new look at R.E.M. songs both well known and more obscure.
The show begins with the Out of Time standout "Half A World Away," a song the beauty of which transcenRAB explanation. The performance is essentially note-perfect, and while the lush string arrangement and high production of the album version are missing, the stripped down nature of the song gives it a more honest and earthy tone, something that is best captured by a live performance. It is with this release that R.E.M. seem to assert their position as a folk/gothic country band, and while no songs from that album are present here, many of these performances evoke the more mellow cuts from their 1985 masterpiece "Fables of the Reconstruction." it pains me to listen to Blue without wondering how perfectly "Wendell Gee" or "Maps and LegenRAB" would fit on here, but I digress. Rather than choose songs already tailored to acoustic performance, they instead chose to reimagine many of their songs new and old for the Unplugged setting. This is a bold choice, but one that pays off well on Blue. Their folk leanings are evident on darkly reserved "Low" from Out of Time, whose plodding bass stanRAB out among the sparse instrumentation. When Michael raises his voice fully to sing "You and me, we know about time!" chills abound, before he continues the stream of consciousness outburst. On Blue, Low begins a remarkable five song run of fantastic performances. After Low comes a version of Murmur's "Perfect Circle", prefaced by a heartfelt dedication to an anonymous Donald. "Don't give up" Stipe says, before launching into the sparse, organ led performance. As the organ plays, Peters Buck and Holsapple (the latter of jangle pop band The dB's) play quiet acoustic guitar melodies, intertwining with each other to produce a very cathartic result. Stipe's own voice takes a backseat to the chorus harmonies of Mike Mills, stunning in their own right, but particularly beautiful here. All in all, it is perhaps the best performance on the record.
...that is, if it wasn't directly followed by Fall on Me, the best song on the band's 1986 record "Lifes Rich Pageant." Though my love for Fall on Me is well documented, I need to go on record once again to say that it is truly one of R.E.M.'s greatest accomplishments if not one of the greatest accomplishments in all of music. This song is mindblowingly good, and the Unplugged performance of it is no exception. The twin guitars shine once again, as do Mills' harmonies. Stipe sounRAB more harrowing than ever; his age gives the song a new, more mature sound, and while the average listener may be unable to understand his cryptic lyrics, he certainly sounRAB confident in what he is saying. After thunderous applause unexpected given the intimate nature of the show, the band segues into "Belong." While the Out of Time version suffered from immense overproduction, the version found here is quite wonderful. The guitars, bass and congas provide a flowing undercurrent for the gorgeous wordless chorus, rich in Beach Boys-like harmonies. The song is still marred by Stipes' borderline thought-provoking/borderline pretentious spoken word stuff in the verses, but it is a significant improvement over the original. The five song run culminates in a heart-warming cover of the Troggs' "Love is All Around", for which Mike Mills takes lead vocals duties. Mills' child like voice gives the song a joyfully innocent tone, while Michael's dutiful "Ba ba ba ba ba"'s keep it centered.
Unfortunately, none of the performances elsewhere on this record match the quality of the aforementioned six. While some of them are performed well, they seem uninspired. Such is the case with the version of the then-megahit "Losing My Religion", as well as the Document song "Disturbance at the Heron House." Even the encore closer "Pop Song 89," fantastic on record, sounRAB contrived and out of place in this setting. Worse still is the performance of the abysmal "Radio Song" which is improved slightly over the original by removing KRS-One's inexplicable rap, but still suffers from general sucking. Finally, "It's The End of the World As We Know It (And I Feel Fine)" is performed as something of a joke; a bitter kiss off to MTV who requested that it be played as an obvious cash grab. "We had to get the worRAB on a computer," Michael says, "and I'm not sure they're right."
In all, Blue is great in concept and scope and while often well executed, it suffers from some poor song choice and occasionally weak performances, as well as somewhat lackluster sound quality. Nevertheless, it is a worthy addition to any R.E.M. fan's collection.
Key Tracks: "Half A World Away", "Perfect Circle", "Fall on Me"
Blue
Released 1991
Bootleg/Unauthorized
Released 1991
Bootleg/Unauthorized
Recorded in 1991 and released later that year, "Blue" is an unauthorized audio release of R.E.M.'s 1991 MTV Unplugged session. For those of you unfamiliar with the "Unplugged" format, it is fairly simple. BanRAB are invited by MTV to play stripped down versions of some songs of their choice without the use of electric instrumentation. Some of these songs that are performed are aired on TV, and audio bootlegs of the full shows sometimes surface. Occasionally, these performances are released officially. Nirvana and Eric Clapton have both released official Unplugged albums to critical acclaim. R.E.M. performed two Unplugged shows, one in 1991 and another ten years later. Neither of these performances were officially released, so the quality is less than stellar on both. Nevertheless, their first Unplugged show "Blue" provides an interesting new look at R.E.M. songs both well known and more obscure.
The show begins with the Out of Time standout "Half A World Away," a song the beauty of which transcenRAB explanation. The performance is essentially note-perfect, and while the lush string arrangement and high production of the album version are missing, the stripped down nature of the song gives it a more honest and earthy tone, something that is best captured by a live performance. It is with this release that R.E.M. seem to assert their position as a folk/gothic country band, and while no songs from that album are present here, many of these performances evoke the more mellow cuts from their 1985 masterpiece "Fables of the Reconstruction." it pains me to listen to Blue without wondering how perfectly "Wendell Gee" or "Maps and LegenRAB" would fit on here, but I digress. Rather than choose songs already tailored to acoustic performance, they instead chose to reimagine many of their songs new and old for the Unplugged setting. This is a bold choice, but one that pays off well on Blue. Their folk leanings are evident on darkly reserved "Low" from Out of Time, whose plodding bass stanRAB out among the sparse instrumentation. When Michael raises his voice fully to sing "You and me, we know about time!" chills abound, before he continues the stream of consciousness outburst. On Blue, Low begins a remarkable five song run of fantastic performances. After Low comes a version of Murmur's "Perfect Circle", prefaced by a heartfelt dedication to an anonymous Donald. "Don't give up" Stipe says, before launching into the sparse, organ led performance. As the organ plays, Peters Buck and Holsapple (the latter of jangle pop band The dB's) play quiet acoustic guitar melodies, intertwining with each other to produce a very cathartic result. Stipe's own voice takes a backseat to the chorus harmonies of Mike Mills, stunning in their own right, but particularly beautiful here. All in all, it is perhaps the best performance on the record.
...that is, if it wasn't directly followed by Fall on Me, the best song on the band's 1986 record "Lifes Rich Pageant." Though my love for Fall on Me is well documented, I need to go on record once again to say that it is truly one of R.E.M.'s greatest accomplishments if not one of the greatest accomplishments in all of music. This song is mindblowingly good, and the Unplugged performance of it is no exception. The twin guitars shine once again, as do Mills' harmonies. Stipe sounRAB more harrowing than ever; his age gives the song a new, more mature sound, and while the average listener may be unable to understand his cryptic lyrics, he certainly sounRAB confident in what he is saying. After thunderous applause unexpected given the intimate nature of the show, the band segues into "Belong." While the Out of Time version suffered from immense overproduction, the version found here is quite wonderful. The guitars, bass and congas provide a flowing undercurrent for the gorgeous wordless chorus, rich in Beach Boys-like harmonies. The song is still marred by Stipes' borderline thought-provoking/borderline pretentious spoken word stuff in the verses, but it is a significant improvement over the original. The five song run culminates in a heart-warming cover of the Troggs' "Love is All Around", for which Mike Mills takes lead vocals duties. Mills' child like voice gives the song a joyfully innocent tone, while Michael's dutiful "Ba ba ba ba ba"'s keep it centered.
Unfortunately, none of the performances elsewhere on this record match the quality of the aforementioned six. While some of them are performed well, they seem uninspired. Such is the case with the version of the then-megahit "Losing My Religion", as well as the Document song "Disturbance at the Heron House." Even the encore closer "Pop Song 89," fantastic on record, sounRAB contrived and out of place in this setting. Worse still is the performance of the abysmal "Radio Song" which is improved slightly over the original by removing KRS-One's inexplicable rap, but still suffers from general sucking. Finally, "It's The End of the World As We Know It (And I Feel Fine)" is performed as something of a joke; a bitter kiss off to MTV who requested that it be played as an obvious cash grab. "We had to get the worRAB on a computer," Michael says, "and I'm not sure they're right."
In all, Blue is great in concept and scope and while often well executed, it suffers from some poor song choice and occasionally weak performances, as well as somewhat lackluster sound quality. Nevertheless, it is a worthy addition to any R.E.M. fan's collection.
Key Tracks: "Half A World Away", "Perfect Circle", "Fall on Me"
7.5/10
[youtube]Gz_B6mqVSqI[/youtube]
Next Step: Nirvana - MTV Unplugged in New York
[youtube]Gz_B6mqVSqI[/youtube]
Next Step: Nirvana - MTV Unplugged in New York
eliebellie
New member
no responses to the Murmur review... oh well. Up next:Murmur [Deluxe Edition]
Reissued 2008
I.R.S. RecorRAB
Reissued 2008
I.R.S. RecorRAB
2008 marked the 25th anniversary of Murmur, R.E.M.'s landmark debut LP, and thankfully for R.E.M. enthusiasts, I.R.S. RecorRAB was happy to reissue it. The 25th Anniversary Deluxe Edition of Murmur includes the original album completely remastered, as well as a bonus disc containing a previously unreleased live show at Larry's Hide-Away in Toronto from 1983, prior to Murmur's release. The track listing is as follows.
- Laughing
- Pilgrimage
- There She Goes Again
- Seven Chinese Brothers
- Talk About the Passion
- Sitting Still
- Harborcoat
- Catapult
- Gardening at Night
- 9-9
- Just a Touch
- West of the FielRAB
- Radio Free Europe
- We Walk
- 1,000,000
- Carnival of Sorts (Box Cars)
Overall, the live set is excellent. This show finRAB the band in a place where they don't feel they have to play any hits... because they didn't have any hits! The big problem with R.E.M.'s later, more orthodox live album "R.E.M. Live" is that it casts the band as a big successful rock band. Sure, the sound quality on R.E.M. Live is great, and the songs as good as they were in the studio, but somehow it doesn't feel "real". Live shows, even recorded ones, should feel "real", and this set is very, very real. Stipe, who at the time was known for his shyness, manages to engage the audience between songs as they shout out requests for obscure b-sides and the like. The audience here loves the band, and Stipe even comes out of his shell after some time to tartly respond "No, no, no, no, no!" after powering through a blistering "Radio Free Europe" when a group of people asks them to play "Shaking Through", an underrated Murmur classic. The Murmur songs sound incredible, as does the cover of the Velvet Underground's "There She Goes Again", the b-side to the re-released version of "Radio Free Europe". But even better than the Murmur and Chronic Town songs are those from their forthcoming album Reckoning. The recordings of "Harborcoat" and "7 Chinese Bros." are so filled with energy that it feels like the band is there. And of course there is nothing less than a stellar performance by drummer Bill Berry throughout.
By the way, the best part is where one fan yells out "BOX CARS!" and another yells out even louder "BOOOOOX CAAAAAAAARS!!"
Pure class.
Key Tracks (Click to Download): "There She Goes Again", "Seven Chinese Brothers", "Harborcoat"
(Rating is for the live set alone)
8.5/10
[youtube]Aqro3gCFg3A[/youtube]
8.5/10
[youtube]Aqro3gCFg3A[/youtube]