タグ:R.E.M. ( 8 ) タグの人気記事

 

R.E.M. 名曲集












by ichiro_ishikawa | 2017-10-22 00:34 | 音楽 | Comments(0)  

【転載】How Debut Album ‘Murmur’ Spread

転載  udiscovermusic.com

R.E.M.

How Debut Album ‘Murmur’ Spread 

The Word About R.E.M.


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In December 1987, North America’s most prestigious rock publication, Rolling Stone, granted R.E.M. the front cover and proclaimed them to be “America’s Best Rock & Roll Band”. Just four and a half years after the release of their debut album, Murmur, the band’s dynamic fifth album, Document, had zoomed up to No.10 on the Billboard 200. Within another five years they would be one of the biggest bands on the planet.  


R.E.M.’s gradual, but surefooted rise to global stardom has been well-documented, but like their arena-rock contemporaries The Cure and Simple Minds, the Athens, Georgia-based quartet were first galvanised into action by punk’s lo-fi, DIY philosophy. A mutual appreciation of stellar punk and post-punk-era acts, including Patti Smith and Television, first firmed up the bond of friendship between vocalist Michael Stipe and guitarist Peter Buck, who put R.E.M. together with the addition of bassist Mike Mills and Bill Berry.



The embryonic band made their live debut at a friend’s birthday party in a converted Episcopal church in Athens, on 5 April 1980. The foursome then spent much of the next 18 months building a following the old fashioned way, criss-crossing the southern US playing grassroots-level shows and feverishly writing strings of songs.  


The band’s first real foray into a recording studio resulted in a well-received demo overseen by producer Mitch Easter at Drive-In Studios in North Carolina. In remixed form, two tracks from this session, ‘Radio Free Europe’ and ‘Sitting Still’, made up R.E.M.’s vinyl debut in July 1981, when the two songs were issued as a single on local Athens imprint, Hib-Tone.  


Selling out its 1,000-only pressing, ‘Radio Free Europe’ made sizeable waves, with the highly respected New York Times even including the record in its Ten Best Singles Of The Year round-up. Meanwhile, R.E.M.’s original Mitch Easter-produced demo continued to open doors for them. A copy of it eventually found its way to IRS Records, whose suitably impressed co-owners, Miles Copeland III and Jay Boberg, quickly stepped in to sign the band.


IRS introduced R.E.M. to the wider world with a mini-LP, Chronic Town, released in August 1982. Again recorded at Easter’s garage studio, this naïve yet glorious record included long-term fan favourites ‘Gardening At Night’, ‘Carnival Of Sorts (Box Cars)’ and ‘Wolves, Lower’, and introduced the band’s signature sound, with Mike Mills’ driving, melodic basslines playing counterpoint to Peter Buck’s jangly, arpeggiated guitar, and Michael Stipe’s soft, mumbled vocal delivery piquing the interest of critics on both sides of the Atlantic.  


With Chronic Town garnering positive media attention and racking up healthy sales of around 20,000 copies, IRS were keen to issue the band’s debut album. Initial sessions began late in 1982, but the label insisted on pairing the group with a new, high-profile producer in Stephen Hague (OMD, PiL, New Order), who placed the emphasis squarely on studio perfection. Though an excellent technician on his own terms, Hague’s methods were ill-suited to the still relatively inexperienced R.E.M. Bill Berry, especially, lost confidence after Hague forced the band to perform multiple takes of ‘Catapult’, and the producer later decided to take the completed song to Synchro Sound in Boston where he overlaid it with keyboards without the band’s permission.  


Unhappy with the turn of events, R.E.M, requested the opportunity to record their debut with Mitch Easter. After an initial “try out” session yielded a successful version of the song ‘Pilgrimage’, IRS relented and gave R.E.M. the green light to hook up with Easter and his production partner, Don Dixon.  


Stipe and company had previously worked with Easter at his garage studio in Winston-Salem, North Carolina, but for the Murmur sessions they moved 80 miles further south to Reflection Studios in Charlotte, a 24-track facility whose principal clients were US televangelists Jim and Tammy Bakker’s Praise The Lord Club. The studio’s lack of rock’n’roll credentials, however, didn’t faze R.E.M. in the slightest.  


“We wanted to do it in the South with people who were fresh at making rock’n’roll records,” Peter Buck later told Rolling Stone. “In Charlotte, we could sit up all night and mess around, have ideas and not worry too much.”  


R.E.M. had written and performed most of Murmur’s 12 songs live during 1980-81 and had already agreed on a track sequence before they entered the studio. The quartet were also adamant that they wished to eschew rock music clichés such as grandiose guitar solos and the (then on-trend) synthesisers so beloved of Stephen Hague. In most cases, the songs’ basic tracks were laid down relatively quickly and Stipe generally recorded his vocals in a darkened stairwell off to the side of the main studio.


For their part, Dixon and Easter were happy to provide technical expertise and tighten things up as required, but in general, the pair cheerfully indulged R.E.M.’s experimental approach. As Dixon told Rolling Stone: “It was a unique combination of people, where there was enough tension and enough cohesiveness. We were dealing with a fragile sort of art concept and trying to bring in a little pop sensibility without beating it up.”  


“They [Dixon and Easter] were instrumental in teaching us how to use the studio,” Peter Buck later acknowledged. “We spent most of our time finding interesting ideas and sounds like strange percussion things, banging on table legs… I’d play acoustic guitar and then take the guitar off and leave the reverb on with the delay, so that it was ghostly and strange.”




The record R.E.M. emerged with remains one of the most compelling and otherworldly debut albums in rock history. Buck’s chiming, Byrds-esque guitars and Stipe’s elliptical lyrics and slurred delivery have frequently been singled out for attention, but all four members of the band played crucial roles, with Mills’ melodic basslines and Berry’s expressive drumming (and the duo’s intuitive harmony vocals) equally essential to the shape of R.E.M.’s singular DNA. Among the record’s cachet of brittle, introspective treats are the glorious ‘Talk About The Passion’, the haunting, piano-led ‘Perfect Circle’ and the nervous, jittery ‘9-9’, but Murmur’s tracklist remains staunchly filler-free and the passing of time has merely added to the record’s timeless allure.


Housed in a suitably enigmatic sleeve depicting a field covered with kudzu vines (known locally as “the vine that ate the South”), Murmur was released on 12 April 1983 and attracted substantial media acclaim. Awarding the album four stars, Rolling Stone’s Steve Pond asserted that “Murmur is the record on which [R.E.M.] trade potential for results: an intelligent, enigmatic, deeply involving album, it reveals a depth and cohesiveness to R.E.M.”, while The Village Voice’s Robert Christgau declared “they’re an art band, nothing more or less – and a damn smart one!”



  

Murmur’s most direct and anthemic track, a punchier, re-recorded version of ‘Radio Free Europe’ was selected as the album’s lead single and rose to No.78 on the Billboard singles chart. The album itself fared better, peaking at No.36 on the Billboard 200, selling 200,000 copies across 1983 and eventually gaining a gold certification in 1991. Remarkably, the introspective Murmur also went on to beat off the challenge of multi-million-selling mainstream releases such as Michael Jackson’s Thriller, The Police’s Synchronicity and U2’s War to scoop Rolling Stone’s prestigious Album Of The Year Award for 1983.  


R.E.M. played a lengthy US tour supporting UK ska-pop trailblazers The English Beat (aka The Beat, back home) which straddled the release of Murmur. The band’s relentless schedule continued throughout the summer of ’83, with their own headlining tour of North America touching down in prestigious venues such as The Ritz in New York, the Old Waldorf in San Francisco, and Detroit’s St Andrew’s Hall. During this run of shows Stipe and company took legendary names of the future, such as The Replacements, out on the road as their warm-up acts.  


National television debuts at home (Tonight With David Letterman) and abroad (The Tube in the UK), in addition to the group’s first European tour, presaged R.E.M.’s reunion with Mitch Easter and Don Dixon, and the start of the sessions which resulted in the band’s sophomore release, April ’84’s Reckoning.


Tim Peacock



by ichiro_ishikawa | 2017-10-21 20:31 | 音楽 | Comments(0)  

ロック四天王


俺の中での同時代ロック四天王アルバムは、


The Smiths『The Queen Is Dead』

1986年6月23日



U2『The Joshua Tree』

1987年3月9日



R.E.M. 『Document』

1987年9月1日



Sonic Youth『Daydream Nation』

1988年10月18日



なワケだ。15〜17歳。

1951年生まれの渋谷陽一やピーター・バラカンが15〜17歳の時、ビートルズが『Revolver』、『Sgt. Pepper's Lonely Hearts Club Band』、『The Beatles(White Album)』であつたことをよく自慢してゐるが、この四天王のキャリアとてめえのティーンズがピタリと重なつてゐることも、決して負けてはゐない。といふことに気づくのはよいことだ。




by ichiro_ishikawa | 2017-09-26 00:31 | 音楽 | Comments(0)  

【転載】NMEの記事

R.E.M. announce 25th anniversary ‘Automatic For The People’ reissue


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The album has gone on to sell over 18million copies worldwide Credit: Getty


By

Samantha Maine

Sep 14, 2017


転載 NME



The iconic 1992 album will be released in a variety of formats


R.E.M. have announced a 25th anniversary reissue of their iconic album ‘Automatic For The People’.


Featuring singles ‘Everybody Hurts’ and ‘Man On The Moon’, the 1992 album became one the band’s most iconic LPs and has currently sold over 18million copies worldwide.



It will feature the album in its entirety mixed in Dolby Atmos by original ‘Automatic For The People’ producer Scott Litt and engineer, Clif Norrell. It also marks the first time an album has been commercially released in this format.


See the announcement video below.




Arriving on November 10, the album will be released in a variety of formats. A 4-disc Deluxe Edition will include 20 previously unreleased demos from the ‘Automatic For The People’ sessions. The reissue will also feature bonus track ‘Photograph’ featuring Natalie Merchant.



The Deluxe Anniversary Edition comes in a 12″ x 12″ lift-top box and features an all-new 60-page book, offering never-before-seen photos by Anton Corbjin and Melodie McDaniel, plus new liner notes by Scottish music journalist Tom Doyle. You can see a picture of the Deluxe Anniversary Edition below.


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R.E.M. Automatic For the People reissue

The Deluxe Edition features a huge photo book



Also included in both the 2-disc 25th Anniversary and Deluxe Edition of the album is a full live set from R.E.M’s show at the Live At The 40 Watt Club on November 19th, 1992. It was their only live show that year.


Speaking of ‘Automatic For The People,’ bassist Mike Mills said: “Mortality is a theme that writers have chosen to work with throughout time. It speaks of the fragility and beauty of life and living life to the fullest in the present moment. It happens all too quickly and we all know that. I think it’s our most cohesive record…It’s the strongest from first to last.”



by ichiro_ishikawa | 2017-09-16 02:52 | 音楽 | Comments(0)  

【転載】ピーター・バック曰く「こんなに売れるとは思はなんだ」


R.E.M.'s Peter Buck Talks 'Automatic for the People' Before 25th Anniversary Reissue: 'I Didn't Expect It to Be a Huge Hit'


9/14/2017 by Craig Rosen


from  billboard



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AP Photo/Frank Franklin II

Michael Stipe and Peter Buck of R.E.M. perform at Madison Square Garden in New York City. 




R.E.M. will celebrate the 25th anniversary of Automatic for the People with a deluxe reissue of the album that found the band at the height of its commercial and critical success. It's due in three different configurations on Nov. 10 from Concord's reissue imprint, Craft Recordings, including a Deluxe Anniversary Edition that will feature the album remixed in Dolby Atmos.


Original album producer Scott Litt and engineer Clif Norrell remixed the album using the technology, which offers a three-dimensional listening experience previously used mostly for films. This is the first major music release to utilize the technology.


Craft Recordings President Sig Sigworth, who previously worked with the band during its '80s stint on IRS Records, is spearheading the R.E.M. reissue campaign. This marks the label's second deluxe 25th anniversary package, following last year's Out of Time reissue, which received a similar treatment, but Sigworth notes the addition of the album mixed in Dolby Atmos makes this package even more special. He points to a remark Norrell is heard making about the improved sound of the album in the promotional video for the release: "It's like a sculpture rather than a painting."


The set will also include 20 previously unreleased demos from the album's recording sessions, including "Mike's Pop Song," which is now available to stream on Spotify, Apple Music and Google Play and for purchase at Amazon and iTunes. The second disc of the two-disc 25th Anniversary and Deluxe Edition is the concert recording, "Live at the 40 Watt Club 11/19/92," which captures the band in its hometown of Athens, Ga. at a benefit concert for Alternative NRG/Greenpeace, playing its only show that year. Also included with the Deluxe Edition, packaged in a 12-by-12-inch lift-top box, is a 60-page book featuring never released photos by Anton Corbijn and Melodie McDaniel, and new liner notes by music journalist Tom Doyle. The album will also be released on 180-gram vinyl.


Since the Rock & Roll Hall of Fame inductees disbanded amicably in 2011, guitarist Peter Buck has been the most musically active. His latest band, Filthy Friends, released its debut album, Invitation, in late August and is still playing live dates to support it. Buck recently took a break from his schedule to sit down in the studio with former bandmate, bassist/keyboardist Mike Mills, Litt and Norrell to listen to the remix in Dolby Atmos, which he refers to as "the 13-speaker thing."


He says he was initially a little skeptical, but he came away impressed. "I'm usually a little ambivalent about things like that," Buck says. "But I was kind of blown away at what it sounded like. I didn't go as far as Dark Side of the Moon, but it's not that kind of record. It has amazing ambient and percussion sound. It's a really good record and I was surprised how strong it all sounded at this point."


Automatic for the People, named for an expression used by the proprietor of an Athens, Ga. eatery the band frequented, was originally released on Oct. 6, 1992. It peaked at No. 2 on the Billboard 200, behind Garth Brooks' The Chase, and went on to sell 3.52 million copies in the U.S., according to Nielsen SoundScan, and 18 million worldwide.


It followed R.E.M.'s breakout success with the Billbaord 200-topping 1991 album Out of Time and the omnipresent single "Losing My Religion," allowing the band the time and freedom to follow its creative muse. Although the quartet, fronted by singer Michael Stipe and also including drummer Bill Berry, had earned its reputation from seemingly endless touring, it did not support Out of Time or Automatic with tours, the two albums that ended up being the band's best-sellers. "That's not in the playbook," noted Bertis Downs, the band's long-time manager. "It's weird the way it worked out."


Just as the mandolin-laden "Losing My Religion" had upended then-current pop standards, Automatic for the People also bucked contemporary trends with its somber string-soaked mediations on death and mortality, including "Try Not to Breathe" and "Sweetness Follows." The album actually began to take shape almost immediately following Out of Time. "I'm not sure what we were aiming for, but when we were mixing Out of Time, Michael and Mike did 'Nightswimming,' so we knew that existed, and we had demos of 'Drive' and 'Try Not to Breathe,'" Buck recalls. He says that those three "really strong songs" set the tone for the album.


Like other classic rock bands with rabid followings, R.E.M. has been the subject of bootlegs featuring demos and alternate recordings, but many of the demos on the Automatic bonus disc have never been circulated. "What leaks out is usually the stuff we did outside of [longtime associate] John Keane's studio," Buck says. "That stuff sat in his house and then we moved it to the vault." Buck, who recently listened to the demo disc on his car CD player, says some of it even sounded new to him. "There's a track called 'Arabic Feedback' that I have no memory of knocking out," he relates.




Overall, Buck was a bit surprised by the success of the album, which included the hit singles "Man on the Moon" and "Everybody Hurts." "My feeling was -- not in a negative way -- is that it was kind of a down record with a lot of minor keys, and we were at the age when Michael was thinking a lot about mortality, so I didn't expect it to be a huge hit," he explains. Yet according to the guitarist, when he played the advance cassette for friends, "Everyone thought it was a great record."


However, Buck stops short at calling Automatic his favorite album. "It is a strong record, but I'm a little confused with what we came up with," he says. "I go through and look at all of our stuff and it all has different meanings… Murmur was my childhood dream since I was seven."


Still, he says that the material on Automatic has held up over time -- noting the band's final show on Nov. 18, 2008, in Mexico City, featured four songs from the album, 16 years after its release. "That's nothing to flinch at."



by ichiro_ishikawa | 2017-09-16 02:37 | 音楽 | Comments(0)  

R.E.M.『Automatic for the People』 25周年記念エディション


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ザ・スミス『The Queen Is Dead』に続き、R.E.M.も、1992年リリース『Automatic for the People』の25thアニヴァーサリー・エディションが11月10日発売。リイシュー元はCraft Recordings。
また同日に2CDエディション、リマスター音源採用のアナログレコード版も発売されるとのこと。

『The Queen Is Dead』も『Automatic for the People』もそれぞれの最も売れた、代表作であるが、俺の中でのそれぞれの最高傑作にして、全ロックアルバム中、最も好きなアルバムである。特に『Automatic for the People』は、1997年のロンドンの、今はなきホステル「ホテル・パラマウント」でよく聴いてゐて、嫌が応にも当時の空気を思い出す。あの頃俺は25歳で、自信に満ち溢れてゐたよ。変はりゆくものに牙をむいてゐたもの。
これを買ふのはさういふ40代ばかりだらう。








『Automatic For the People: 25th Anniversary Edition』

●CD1
新たにリマスタリングされたオリジナル収録曲を収録
01. Drive
02. Try Not To Breathe
03. The Sidewinder Sleeps Tonite
04. Everybody Hurts
05. New Orleans Instrumental No. 1
06. Sweetness Follows
07. Monty Got A Raw Deal
08. Ignoreland
09. Star Me Kitten
10. Man On The Moon
11. Nightswimming
12. Find The River


●CD2: (Live at The 40 Watt Club – 11/19/92) 
1992年11月19日に米ジョージア州アテネの40 Watt Clubにて行われたコンサートのライヴ音源20曲を収録

01. Drive
02. Monty Got A Raw Deal
03. Everybody Hurts
04. Man On The Moon
05. Losing My Religion
06. Country Feedback
07. Begin The Begin
08. Fall On Me
09. Me In Honey
10. Finest Worksong
11. Love Is All Around
12. Funtime
13. Radio Free Europe

●CD3: (Demo)
未発表曲「Mike’s Pop Song」も含んだ未発表デモ音源20曲を収録。

01. Drive (Demo)
02. Wake Her Up (Demo)
03. Mike’s Pop Song (Demo)
04. C To D Slide 13 (Demo)
05. Cello Scud (Demo)
06. 10K Minimal (Demo)
07. Peter’s New Song (Demo)
08. Eastern 983111 (Demo)
09. Bill’s Acoustic (Demo)
10. Arabic Feedback (Demo)
11. Howler Monkey (Demo)
12. Pakiderm (Demo)
13. Afterthought (Demo)
14. Bazouki Song (Demo)
15. Photograph (Demo)
16. Michael’s Organ (Demo)
17. Pete’s Acoustic Idea (Demo)
18. 6-8 Passion & Voc (Demo)
19. Hey Love (Mike Voc / Demo)
20. Devil Rides Backwards (Demo)

●Blu-ray (Surround Mix & Videos)
『Automatic for the People』のサラウンド・ミックス(Dolby Atmos Mix)、ミュージックビデオほかを収録。

01. Drive (Dolby Atmos Mix)
02. Try Not To Breathe (Dolby Atmos Mix)
03. The Sidewinder Sleeps Tonite (Dolby Atmos Mix)
04. Everybody Hurts (Dolby Atmos Mix)
05. New Orleans Instrumental No. 1 (Dolby Atmos Mix)
06. Sweetness Follows (Dolby Atmos Mix)
07. Monty Got A Raw Deal (Dolby Atmos Mix)
08. Ignoreland (Dolby Atmos Mix)
09. Star Me Kitten (Dolby Atmos Mix)
10. Man On The Moon (Dolby Atmos Mix)
11. Nightswimming (Dolby Atmos Mix)
12. Find The River (Dolby Atmos Mix)
13. Photograph (Dolby Atmos Mix)
14. Drive
15. Try Not To Breathe
16. The Sidewinder Sleeps Tonite
17. Everybody Hurts
18. New Orleans Instrumental No. 1
19. Sweetness Follows
20. Monty Got A Raw Deal
21. Ignoreland
22. Star Me Kitten
23. Man On The Moon
24. Nightswimming
25. Find The River
26. Photograph

*Videos (27-33)
27. Drive
28. The Sidewinder Sleeps Tonite
29. Everybody Hurts
30. Man On The Moon
31. Nightswimming (British Version)
32. Find The River
33. Nightswimming (R Version)

34. Automatic For The People Press Ki
t



by ichiro_ishikawa | 2017-09-15 00:14 | 音楽 | Comments(0)  

R.E.M. IN 20 SONGS

転載元

https://www.udiscovermusic.com/stories/rem-in-20-songs/


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If ever a band proved that you can play rock’n’roll and retain your integrity, then surely that band was R.E.M. Starting at the bottom playing soul-destroying club gigs, the Athens, Georgia, quartet’s dedicated work ethic ensured they rose steadily through the ranks and made the leap from cult heroes to fully fledged rock stars without ever sacrificing their credibility. An electrifying live act, they amassed an equally formidable catalogue of studio recordings, with their 15 superlative LPs stretching from 1983’s idealistic Murmur to 2011’s critically hailed swansong Collapse Into Now.
The band originally began after vocalist Michael Stipe met guitarist Peter Buck at Wuxtry Records in Athens, where the latter was gainfully employed in his early 20s. Discovering a mutual passion for punk and proto-punk artists such as Patti Smith and Television, the duo drafted in fellow University Of Georgia students Mike Mills (bass) and Bill Berry (drums), and R.E.M. was born. Playing their first gig in April 1980, the band quickly built up a following among the local college fraternity, with fans often praising Stipe’s eccentric, mumbled vocals and Buck’s ringing, Byrds-esque guitar sound.
Released by local independent label Hibtone in 1981, the band’s critically endorsed debut 45, ‘Radio Free Europe’, led to a deal with Miles Copeland’s IRS label, who released August ’82’s mini-LP Chronic Town and R.E.M.’s eagerly awaited full-length debut, Murmur, in April the following year. Brittle, fresh and mysterious, Murmur included fan favourites such as the folk-flecked ‘Talk About The Passion’ and the otherworldly ballad ‘Perfect Circle’, built around a haunting piano melody brought in by Bill Berry.
Murmur surpassed commercial expectations, winning Rolling Stone’s prestigious Album Of The Year award for 1983, and peaking at No.36 on the US Billboard 200. Popular with North America’s college rock network, the band’s sophomore release, 1984’s Reckoning, was recorded in just 12 days, but its contents – which vacillated from the yearning folk-rock of ‘So. Central Rain’ to the country-flavoured ‘(Don’t Go Back To) Rockville’ – were rarely less than beguiling, and the album eventually climbed to No.27 on the Billboard 200.
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Overseen by ex-Fairport Convention/Nick Drake producer Joe Boyd, 1985’s Fables Of The Reconstruction proved to be a “difficult” third album in that it was recorded during a harsh British winter with the band suffering from homesickness. With hindsight, though, it’s something of a flawed masterpiece and includes firm fan favourites such as the strident ‘Driver 8’, the brass-enhanced ‘Can’t Get There From Here’ and the dense, string-assisted ‘Feeling Gravity’s Pull’.
Helmed by John Cougar Mellencamp producer Don Gehman, 1986’s Lifes Rich Pageant was, by comparison, brash and direct. Stipe’s vocal delivery was noticeably more confident and, on some of the album’s stand-out tracks, such as ‘Cuyahoga’, the urgent ‘These Days’ and the glorious, acid-rain-related ‘Fall On Me’, his previously elliptical lyrics lent towards political and ecological issues for the first time.
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Climbing to No.21 on the Billboard 200, Lifes Rich Pageant won R.E.M. their first gold disc, though it was out-performed by their fifth LP, Document, which was released in September 1987. The first of six R.E.M. albums to be produced by Scott Litt (Counting Crows, The Replacements), Document was long on muscular, mainstream-inclined rock anthems such as the ironic, exuberant ‘It’s The End Of The World As We Know It (And I Feel Fine)’, ‘Finest Worksong’ and ‘The One I Love’. With the latter providing the band with their first major hit in North America, Document climbed to No.10 on the Billboard 200 (where it obtained a platinum certificate) as well as cracking the UK Top 30.
R.E.M. signed with Warner Bros for their sixth album, Green, released in October 1988. Greeted with considerable critical acclaim and promoted with a highly publicised 11-month world tour, this satisfyingly diverse record incorporated edgy, politically inclined rockers (‘Orange Crush’, ‘Turn You Inside Out’), catchy pop songs (‘Stand’, ‘Pop Song 89’) and pastoral, folk-flecked numbers such as ‘You Are The Everything’ and ‘Hairshirt’.
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Awarded platinum status in the US, Canada and the UK, Green was the commercial breakthrough R.E.M. had been working towards for almost a decade. They left cult status behind for good, however, with 1991’s Out Of Time, which went to No.1 on both sides of the Atlantic and sold 18 million copies worldwide, even though the band decided against a promotional tour in support of it. Dextrously blending elements of folk and pop (plus country on the enigmatic, pedal steel-assisted ‘Country Feedback’), the album spawned a brace of hit 45s and included the group’s biggest US hit, ‘Losing My Religion’, launched by Peter Buck’s distinctive mandolin riff.
An intimate, but consummate record frequently dealing with loss and mourning, 1992’s Automatic For The People also hit critical and commercial pay dirt, selling 18 million copies worldwide and featuring six enduring hit singles including the moody, monochromatic ‘Drive’, the tear-jerking ballad ‘Everybody Hurts’ and the joyous Andy Kaufman tribute ‘Man On The Moon’, with its tongue-in-cheek Elvis Presley vocal inflections from Stipe.
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R.E.M. returned with a no-holds-barred rock record courtesy of 1994’s hard-edged, grunge-inflected Monster, which was trailed by the churning UK Top 10 hit ‘What’s The Frequency, Kenneth?’ The band celebrated the record’s multi-platinum success with a lengthy but ill-fated world tour wherein drummer Bill Berry suffered a brain aneurysm onstage in Switzerland. Happily, Berry survived, but he quit the band after R.E.M. had re-signed with Warner Bros and cut 1997’s New Adventures In Hi-Fi. Arguably the group’s most underrated disc, this sprawling but compelling LP included gems such as the mesmeric, Patti Smith-assisted ‘E-Bow The Letter’ and the gorgeous pre-millennial hymn ‘Electrolite’.
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Instead of officially replacing Berry, R.E.M.’s three remaining members chose to draft in additional musicians, including Minus 5 multi-instrumentalist Scott McCaughey, and drummers such as Joey Waronker (Beck) and later Bill Rieflin (Ministry, Swans) for studio and/or live work. Recorded with new producer Pat McCarthy, the band’s first post-Berry outing, 1998’s Up, was a transitional record, but it included the delightful, Beach Boys-esque ‘At My Most Beautiful’.
Rather more successfully realised was 2001’s lush, melodic Reveal, which housed enduring UK Top 10 hit ‘Imitation Of Life’ and the dreamy ‘All The Way To Reno (You’re Gonna Be A Star)’. It was a solid seller, though it was eclipsed by 2003’s self-explanatory In Time: The Best Of R.E.M. 1988-2003, a well-chosen, multi-platinum-selling anthology cherry-picked from the band’s Warner Bros catalogue and featuring two stand-alone hits, ‘Bad Day’ and ‘The Great Beyond’, the latter having previously featured in director Miloš Forman’s Andy Kaufman biopic Man On The Moon, starring Jim Carrey.
R.E.M. returned to the fray with 2004’s introspective Around The Sun, which rose to No.1 in the UK Top 40 and included Michael Stipe’s affecting tribute to his second home, ‘Leaving New York’, which also broached the UK Top 5. The band then went back to basics for 2008’s Accelerate, hooking up with U2producer Jacknife Lee and unleashing some of their most stripped-back rock’n’roll in years. Fans rapidly seized on aggressive anthems such as ‘Man-Sized Wreath’ and the crunching, séance-related ‘Supernatural Superserious’, while critics tripped over themselves to hail the album as a return to form.

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Buck, Mills and Stipe had, however, discussed calling time on R.E.M. even before they set out on the lengthy tour to support Accelerate in 2008, and they split definitively after recording 2011’s Collapse Into Now, again with Jacknife Lee at the controls. The resulting album touched base with all R.E.M.’s strengths, from affecting, slow-burning anthems (‘Überlin’) to crunching rockers (‘Alligator_Aviator_Autopilot_Antimatter’) and heartfelt ballads such as ‘Oh My Heart’; collectively, Collapse Into Now sounded like the perfect parting shot from the consummate rock band who super fan Kurt Cobain once told Rolling Stone were “the greatest… and they keep delivering great music”.

by ichiro_ishikawa | 2017-09-13 22:38 | 音楽 | Comments(0)  

R.E.M.10年ぶりの来日公演、速報!

今日、3月16日(水)、日本武道館で行われたR.E.M.来日公演。
赤シャツに細みのブラックスーツといういでたちで手足をくねらせダンスしまくるマイケル・スタイプ。電話帳を読み上げても聞くものを哀しみでむせび泣かせるその声。
「グワッと泣いた曲」ベスト5をひとまず。

1.「Electrolite」
2.「Losing My Religion」
3.「The Man I Love」
4.「The Outsiders」
5.「Everybody Hurts」
6.「Imitation of Life」
7.「Orange Crash」

明日はソニック・ユース。
合わせてがっつり書きたい。
モリッシー、ボノ、トム・ヨーク、ベックを引き合いに、オルタナティヴという「ロック」にも話は及ぶだろう。

by ichiro_ishikawa | 2005-03-17 01:51 | 音楽 | Comments(1)