R.E.M.

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R.E.M.
A blue-tinted photograph of musicians in front of an industrial background. From left to right: a long-haired male stands with his back to the camera playing bass guitar, a middle-aged Caucasian male sings into a microphone, a middle-aged Caucasian male plays behind a black-and-silver drum set on a riser, and a guitar player is mostly cropped from the extreme left of the photo.
R.E.M. in concert in Padova, Italy, in July 2003. From left to right: Mike Mills, Michael Stipe, touring drummer Bill Rieflin, and Peter Buck.
Background information
Also known as Hornets Attack Victor Mature,[1] Bingo Hand Job,[2] It Crawled from the South[3]
Origin Athens, Georgia, United States
Genres Alternative rock, college rock, jangle pop
Years active 1980 (1980)–2011 (2011)
Labels Hib-Tone, I.R.S., New West, Rhino, Warner Bros.
Associated acts Automatic Baby, The Baseball Project, Hindu Love Gods, The Minus 5, Tuatara, Tired Pony
Website remhq.com
Past members

R.E.M. was an American rock band from Athens, Georgia, formed in 1980 by singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills, and drummer Bill Berry. One of the first popular alternative rock bands, R.E.M. gained early attention because of Buck's ringing, arpeggiated guitar style and Stipe's unclear vocals. R.E.M. released its first single, "Radio Free Europe", in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band's first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single "The One I Love". The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.

By the early 1990s, when alternative rock began to experience broad mainstream success, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre and released its two most commercially successful albums, catapulting it to international fame, Out of Time (1991) and Automatic for the People (1992), which veered from the band's established sound. R.E.M.'s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three band members. In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than expected. The following year, Bill Berry left the band, while Buck, Mills, and Stipe continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming one of the world's best-selling bands of all time.[4] In 2007, the band was inducted into the Rock and Roll Hall of Fame. R.E.M. disbanded amicably in September 2011, announcing the split on its website.

History[edit]

Formation: 1980–1981[edit]

In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and The Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself."[5] Stipe and Buck soon met fellow University of Georgia students Mike Mills and Bill Berry,[6] who had played music together since high school.[7] The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it".[5] Their still-unnamed band spent a few months rehearsing and played its first show on April 5, 1980, at a friend's birthday party held in a converted Episcopal church in Athens. After considering names like "Twisted Kites", "Cans of Piss", and "Negro Wives", the band settled on "R.E.M." (which stands for the stage of sleep called rapid eye movement), which Stipe selected at random from a dictionary.[8]

Mitch Easter sitting at a mixing board next to two members of Dreams So Real
Record producer Mitch Easter (far left) was important in defining the band's sound, producing all of their material until 1984

The band members eventually dropped out of school to focus on their developing group.[9] They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens.[10] R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene.[11] Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.[12]

During the summer of 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In Studios in Winston-Salem, North Carolina. The single was released on the local independent record label Hib-Tone with an initial pressing of one thousand copies, which quickly sold out.[13] Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by The New York Times.[14]

I.R.S. Records and cult success: 1982–1986[edit]

Originally released as the band's debut single on Hib-Tone in 1981, "Radio Free Europe" was re-recorded for R.E.M.'s debut album Murmur in 1983.

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R.E.M. recorded the Chronic Town EP with Mitch Easter in October 1981, and planned to release it on a new indie label named Dasht Hopes.[15] However, I.R.S. Records acquired a demo of the band's first recording session with Easter that had been circulating for months.[16] The band turned down the advances of major label RCA Records in favor of I.R.S., with whom it signed a contract in May 1982. I.R.S. released Chronic Town that August as its first American release.[17] A positive review of the EP by NME praised the songs' auras of mystery, and concluded, "R.E.M. ring true, and it's great to hear something as unforced and cunning as this."[18]

I.R.S. first paired R.E.M. with producer Stephen Hague to record its debut album. Hague's emphasis on technical perfection left the band unsatisfied, and the band members asked the label to let them record with Easter.[19] I.R.S. agreed to a "tryout" session, allowing the band to return to North Carolina and record the song "Pilgrimage" with Easter and producing partner Don Dixon. After hearing the track, I.R.S. permitted the group to record the album with Dixon and Easter.[20] Because of its bad experience with Hague, the band recorded the album via a process of negation, refusing to incorporate rock music clichés such as guitar solos or then-popular synthesizers, in order to give its music a timeless feel.[21] The completed album, Murmur, was greeted with critical acclaim upon its release in 1983, with Rolling Stone listing the album as its record of the year.[22] The album reached number 36 on the Billboard album chart.[23] A re-recorded version of "Radio Free Europe" was the album's lead single and reached number 78 on the Billboard singles chart in 1983.[24] Despite the acclaim awarded the album, Murmur sold only about 200,000 copies, which I.R.S.'s Jay Boberg felt was below expectations.[25]

R.E.M. made its first national television appearance on Late Night with David Letterman in October 1983,[26] during which the group performed a new, unnamed song.[27] The piece, eventually titled "So. Central Rain (I'm Sorry)", became the first single from the band's second album, Reckoning (1984), which was also recorded with Easter and Dixon. The album met with critical acclaim; NME's Mat Snow wrote that Reckoning "confirms R.E.M. as one of the most beautifully exciting groups on the planet".[28] While Reckoning peaked at number 27 on the US album charts—an unusually high chart placing for a college rock band at the time—scant airplay and poor distribution overseas resulted in it charting no higher than number 91 in Britain.[29]

A black-and-white photograph of Michael Stipe and Peter Buck performing on stage with spotlights on them. Stipe is to the left singing into a microphone, wearing a three-piece suit, he has bleach-blond hair and is obscuring Mike Mills, whose bass guitar is visible from behind him. Peter Buck is playing guitar and wearing a button-up pattern shirt behind Stipe to the photograph's right with a sneer on his face.
Michael Stipe (left) and Peter Buck (right) on stage in Ghent, Belgium, during R.E.M.'s 1985 tour.

The band's third album, Fables of the Reconstruction (1985), demonstrated a change in direction. Instead of Dixon and Easter, R.E.M. chose producer Joe Boyd, who had worked with Fairport Convention and Nick Drake, to record the album in England. The band members found the sessions unexpectedly difficult, and were miserable due to the cold winter weather and what they considered to be poor food;[30] the situation brought the band to the verge of break-up.[31] The gloominess surrounding the sessions ended up providing the context for the album itself. Lyrically, Stipe began to create storylines in the mode of Southern mythology, noting in a 1985 interview that he was inspired by "the whole idea of the old men sitting around the fire, passing on ... legends and fables to the grandchildren".[32] Fables of the Reconstruction performed poorly in Europe and its critical reception was mixed, with some critics regarding it as dreary and poorly recorded.[33] As with the previous records, the singles from Fables of the Reconstruction were mostly ignored by mainstream radio. Meanwhile, I.R.S. was becoming frustrated with the band's reluctance to achieve mainstream success.[34]

For its fourth album, R.E.M. enlisted John Mellencamp producer Don Gehman. The result, Lifes Rich Pageant (1986) featured Stipe's vocals closer to the forefront of the music. In a 1986 interview with the Chicago Tribune, Peter Buck related, "Michael is getting better at what he's doing, and he's getting more confident at it. And I think that shows up in the projection of his voice."[35] The album improved markedly upon the sales of Fables of the Reconstruction and eventually peaked at number 21 on the Billboard album chart. The single "Fall on Me" also picked up support on commercial radio.[36] The album was the band's first to be certified gold for selling 500,000 copies.[37] While American college radio remained R.E.M.'s core support, the band was beginning to chart hits on mainstream rock formats; however, the music still encountered resistance from Top 40 radio.[38] Following the success of Lifes Rich Pageant, I.R.S. issued Dead Letter Office, a compilation of tracks recorded by the band during their album sessions, many of which had either been issued as B-sides or left unreleased altogether. Shortly thereafter, I.R.S. compiled R.E.M.'s music video catalog (except "Wolves, Lower") as the band's first video release, Succumbs.

Breakthrough: 1987–1990[edit]

Don Gehman was unable to produce R.E.M.'s fifth album, so he suggested the group work with Scott Litt.[39] Litt would be the producer for the band's next five albums. Document (1987) featured some of Stipe's most openly political lyrics, particularly on "Welcome to the Occupation" and "Exhuming McCarthy", which were reactions to the conservative political environment of the 1980s under American President Ronald Reagan.[40] Jon Pareles of The New York Times wrote in his review of the album, "'Document' is both confident and defiant; if R.E.M. is about to move from cult-band status to mass popularity, the album decrees that the band will get there on its own terms."[41] Document was R.E.M.'s breakthrough album, and the first single "The One I Love" charted in the Top 20 in the US, UK, and Canada.[23] By January 1988, Document had become the group's first album to sell a million copies.[42] In light of the band's breakthrough, the December 1987 cover of Rolling Stone declared R.E.M. "America's Best Rock & Roll Band".[43]

Frustrated that its records did not see satisfactory overseas distribution, R.E.M. left I.R.S. when its contract expired and signed with the major label Warner Bros. Records.[44] Though other labels offered more money, R.E.M. ultimately signed with Warner Bros.—reportedly for an amount between $6 million and $12 million—due to the company's assurance of total creative freedom.[45] In the aftermath of the group's departure, I.R.S. released the 1988 "best of" compilation Eponymous (assembled with input from the band members) to capitalize on assets the company still possessed.[46] The band's 1988 Warner Bros. debut, Green, was recorded in Nashville, Tennessee, and showcased the group experimenting with its sound.[47] The record's tracks ranged from the upbeat first single "Stand" (a hit in the United States),[48] to more political material, like the rock-oriented "Orange Crush" and "World Leader Pretend", which address the Vietnam War and the Cold War, respectively.[49] Green has gone on to sell four million copies worldwide.[50] The band supported the album with its biggest and most visually developed tour to date, featuring back-projections and art films playing on the stage.[51] After the Green tour, the band members unofficially decided to take the following year off, the first extended break in the band's career.[52] In 1990 Warner Bros. issued the music video compilation Pop Screen to collect clips from the Document and Green albums, followed a few months later by the video album Tourfilm featuring live performances filmed during the Green World Tour.[53]

Non-touring years and international success: 1991–1993[edit]

Sample of "Losing My Religion" from Out of Time (1991). The mandolin-driven song became R.E.M.'s biggest American hit, peaking at number four on the Billboard charts.

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R.E.M. reconvened in mid-1990 to record its seventh album, Out of Time. In a departure from Green, the band members often wrote the music with non-traditional rock instrumentation including mandolin, organ, and acoustic guitar instead of adding them as overdubs later in the creative process.[54] Released in March 1991, Out of Time was the band's first album to top both the US and UK charts.[23] The record eventually sold 4.2 million copies in the US alone,[55] and about 12 million copies worldwide by 1996.[50] The album's lead single "Losing My Religion" was a worldwide hit that received heavy rotation on radio, as did the music video on MTV.[56] "Losing My Religion" was R.E.M.'s highest-charting single in the US, reaching number four on the Billboard charts.[23] "There've been very few life-changing events in our career because our career has been so gradual," Mills said years later. "If you want to talk about life changing, I think 'Losing My Religion' is the closest it gets".[57] The album's second single, "Shiny Happy People" (one of three songs on the record to feature vocals from Kate Pierson of fellow Athens band The B-52's), was also a major hit, reaching number 10 in the US and number six in the UK.[23] Out of Time garnered R.E.M. seven nominations at the 1992 Grammy Awards, the most nominations of any artist that year. The band won three awards: one for Best Alternative Music Album and two for "Losing My Religion", Best Short Form Music Video and Best Pop Performance by a Duo or Group with Vocal.[58] R.E.M. did not tour to promote Out of Time; instead the group played a series of one-off shows, including an appearance taped for an episode of MTV Unplugged[59] and released music videos for each song on the video album This Film Is On.

After spending some months off, R.E.M. returned to the studio in 1991 to record its next album. Late in 1992, the band released Automatic for the People. Though the group had intended to make a harder-rocking album after the softer textures of Out of Time,[60] the somber Automatic for the People "[seemed] to move at an even more agonized crawl", according to Melody Maker.[61] The album dealt with themes of loss and mourning inspired by "that sense of ... turning thirty", according to Buck.[62] Several songs featured string arrangements by former Led Zeppelin bassist John Paul Jones. Considered by a number of critics (as well as by Buck and Mills) to be the band's best album,[63] Automatic for the People reached numbers one and two on UK and US charts, respectively, and generated the American Top 40 hit singles "Drive", "Man on the Moon", and "Everybody Hurts".[23] The album would sell over fifteen million copies worldwide.[50] As with Out of Time, there was no tour in support of the album. The decision to forgo a tour, in conjunction with Stipe's physical appearance, generated rumors that the singer was dying or HIV-positive, which were vehemently denied by the band.[61]

Return to touring and continued success: 1994–1996[edit]

Sample of "What's the Frequency, Kenneth?" from Monster (1994). The song's loud, distorted guitars were an intentional departure from the sound of R.E.M.'s previous two albums.

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After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, "a 'rock' record, with the rock in quotation marks." In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock.[64] Like Out of Time, Monster topped the charts in both the US and UK.[23] The record sold about nine million copies worldwide.[50] The singles "What's the Frequency, Kenneth?" and "Bang and Blame" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts.[23] Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.[65]

In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group.[66] On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster Tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia.[67] Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album.[68] The final three performances of the tour were filmed and released in home video form as Road Movie.[69]

R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point.[70] The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK.[23] The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years.[71] Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole.[72] That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens.[73] The group's lawyer, Bertis Downs, assumed managerial duties.[74]

Berry's departure and Up: 1997–2000[edit]

Bill Berry behind a drum kit
After drummer Bill Berry quit in 1997, R.E.M. continued as a trio.

In April 1997, the band convened at Buck's Kauai vacation home to record demos of material intended for the next album. The band sought to reinvent its sound and intended to incorporate drum loops and percussion experiments.[75] Just as the sessions were due to begin in October, Berry decided, after months of contemplation and discussions with Downs and Mills, to tell the rest of the band that he was quitting.[76] Berry told his band mates that he would not quit if they would break up as a result, so Stipe, Mills, and Buck agreed to carry on as a three-piece with his blessing.[77] Berry publicly announced his departure three weeks later in October 1997. Berry told the press, "I'm just not as enthusiastic as I have been in the past about doing this anymore . . . I have the best job in the world. But I'm kind of ready to sit back and reflect and maybe not be a pop star anymore."[75] Stipe admitted that the band would be different without a major contributor: "For me, Mike, and Peter, as R.E.M., are we still R.E.M.? I guess a three-legged dog is still a dog. It just has to learn to run differently."[77]

The band canceled its scheduled recording sessions as a result of Berry's departure. "Without Bill it was different, confusing", Mills later said. "We didn't know exactly what to do. We couldn't rehearse without a drummer."[78] The remaining members of R.E.M. resumed work on the album in February 1998 at Toast Studios in San Francisco.[79] The band ended its decade-long collaboration with Scott Litt and hired Pat McCarthy to produce the record. Nigel Godrich was taken on as assistant producer, and drafted in Screaming Trees member Barrett Martin and Beck's touring drummer Joey Waronker. The recording process was plagued with tension, and the group came close to disbanding. Bertis Downs called an emergency meeting where the band members sorted out their problems and agreed to continue as a group.[80] Led off by the single "Daysleeper", Up (1998) debuted in the top ten in the US and UK. However, the album was a relative failure, selling 900,000 copies in the US by mid-1999 and eventually selling just over two million copies worldwide.[55] While R.E.M.'s American sales were declining, the group's commercial base was shifting to the UK, where more R.E.M. records were sold per capita than any other country and the band's singles regularly entered the Top 20.[81]

A year after Up's release, R.E.M. wrote the instrumental score to the Andy Kaufman biographical film Man on the Moon, a first for the group. The film took its title from the Automatic for the People song of the same name.[82] The song "The Great Beyond" was released as a single from the Man on the Moon soundtrack album. "The Great Beyond" only reached number 57 on the American pop charts, but was the band's highest-charting single ever in the UK, reaching number three in 2000.[23]

Reveal and Around the Sun: 2001–2005[edit]

R.E.M. performing onstage, with Michael Stipe singing, Peter Buck playing guitar, and Scott McCaughey playing keyboards
R.E.M. on tour in 2008, with long-time collaborator Scott McCaughey

R.E.M. recorded the majority of its twelfth album Reveal (2001) in Canada and Ireland from May to October 2000.[83] Reveal shared the "lugubrious pace" of Up,[84] and featured drumming by Joey Waronker, as well as contributions by Scott McCaughey (a co-founder of the band The Minus 5 with Buck) and Posies founder Ken Stringfellow. Global sales of the album were over four million, but in the United States Reveal sold about the same number of copies as Up.[85] The album was led by the single "Imitation of Life", which reached number six in the UK.[86] Writing for Rock's Backpages, The Rev. Al Friston described the album as "loaded with golden loveliness at every twist and turn", in comparison to the group's "essentially unconvincing work on New Adventures in Hi-Fi and Up."[87] Similarly, Rob Sheffield of Rolling Stone called Reveal "a spiritual renewal rooted in a musical one" and praised its "ceaselessly astonishing beauty."[88]

In 2003, Warner Bros. released the compilation album and DVD In Time: The Best of R.E.M. 1988–2003 and In View: The Best of R.E.M. 1988–2003, which featured two new songs, "Bad Day" and "Animal". At a 2003 concert in Raleigh, North Carolina, Berry made a surprise appearance, performing backing vocals on "Radio Free Europe". He then sat behind the drum kit for a performance of the early R.E.M. song "Permanent Vacation", marking his first performance with the band since his retirement.[89]

R.E.M. released Around the Sun in 2004. During production of the album in 2002, Stipe said, "[The album] sounds like it's taking off from the last couple of records into unchartered R.E.M. territory. Kind of primitive and howling".[90] After the album's release, Mills said, "I think, honestly, it turned out a little slower than we intended for it to, just in terms of the overall speed of songs."[91] Around the Sun received a mixed critical reception, and peaked at number 13 on the Billboard charts.[92] The first single from the album, "Leaving New York", was a Top 5 hit in the UK.[93] For the record and subsequent tour, the band hired a new full-time touring drummer, Bill Rieflin, who had previously been a member of several industrial music acts such as Ministry and Pigface.[94] The video album Perfect Square was released that same year.

Accelerate, Collapse into Now, and breakup: 2006–2011[edit]

Mike Mills plays bass guitar and sings into a microphone while wearing a Nudie suit
Bassist Mike Mills performing in concert in 2008

EMI released a compilation album covering R.E.M.'s work during its tenure on I.R.S. in 2006 called And I Feel Fine... The Best of the I.R.S. Years 1982–1987 along with the video album When the Light Is Mine: The Best of the I.R.S. Years 1982–1987—the label had previously released the compilations The Best of R.E.M. (1992), R.E.M.: Singles Collected (1994), and R.E.M.: In the Attic – Alternative Recordings 1985–1989 (1997). That same month, all four original band members performed during the ceremony for their induction into the Georgia Music Hall of Fame.[95] While rehearsing for the ceremony, the band recorded a cover of John Lennon's "#9 Dream" for Instant Karma: The Amnesty International Campaign to Save Darfur, a tribute album benefiting Amnesty International.[96] The song—released as a single for the album and the campaign—featured Bill Berry's first studio recording with the band since his departure almost a decade earlier.[97]

In October 2006, R.E.M. was nominated for induction into the Rock and Roll Hall of Fame in its first year of eligibility.[98] The band was one of five nominees accepted into the Hall that year, and the induction ceremony took place in March 2007 at New York's Waldorf-Astoria Hotel. The group—which was inducted by Pearl Jam lead singer Eddie Vedder—performed four songs with Bill Berry.[99]

Work on the group's fourteenth album commenced in early 2007. The band recorded with producer Jacknife Lee in Vancouver and Dublin, where it played five nights in the Olympia Theatre between June 30 and July 5 as part of a "working rehearsal".[100] R.E.M. Live, the band's first live album (featuring songs from a 2005 Dublin show), was released in October 2007.[101] The group followed this with the 2009 live album Live at The Olympia, which features performances from its 2007 residency. R.E.M. released Accelerate in early 2008. The album debuted at number two on the Billboard charts,[102] and became the band's eighth album to top the British album charts.[103] Rolling Stone reviewer David Fricke considered Accelerate an improvement over the band's previous post-Berry albums, calling it "one of the best records R.E.M. have ever made."[104]

In 2010, R.E.M. released the video album R.E.M. Live from Austin, TX—a concert recorded for Austin City Limits in 2008. The group recorded its fifteenth album, Collapse into Now (2011), with Jacknife Lee in locales including Berlin, Nashville, and New Orleans. For the album, the band aimed for a more expansive sound than the intentionally short and speedy approach implemented on Accelerate.[105] The album debuted at number five on the Billboard 200, becoming the group's tenth album to reach the top ten of the chart.[106] This release fulfilled R.E.M.'s contractual obligations to Warner Bros., and the band began recording material without a contract a few months later with the possible intention of self-releasing the work.[107]

On September 21, 2011, R.E.M. announced via its website that it was "calling it a day as a band". Stipe said that he hoped fans realized it "wasn't an easy decision": "All things must end, and we wanted to do it right, to do it our way."[108] Long-time associate and former Warner Bros. Senior Vice President of Emerging Technology Ethan Kaplan has speculated that shake-ups at the record label influenced the group's decision to disband.[109] The group discussed breaking up for several years, but was encouraged to continue after the lackluster critical and commercial performance of Around the Sun; according to Mills, "We needed to prove, not only to our fans and critics but to ourselves, that we could still make great records."[110] The band members finished their collaboration by assembling the compilation album Part Lies, Part Heart, Part Truth, Part Garbage 1982–2011, which was released in November 2011. The album is the first to collect songs from R.E.M.'s I.R.S. and Warner Bros. tenures, as well as three songs from the group's final studio recordings from post-Collapse into Now sessions.[111] In November, Mills and Stipe did a brief span of promotional appearances in British media, ruling out the option of the group ever reuniting.[112]

In 2014, Unplugged: The Complete 1991 and 2001 Sessions was released for Record Store Day.[113]

Musical style[edit]

Sample of "Fall on Me" from Lifes Rich Pageant (1986), which showcases Peter Buck's jangly, arpeggiated guitar style and features Michael Stipe and Mike Mills harmonizing in the chorus.

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In a 1988 interview, Peter Buck described typical R.E.M. songs as, "Minor key, mid-tempo, enigmatic, semi-folk-rock-balladish things. That's what everyone thinks and to a certain degree, that's true."[114] All songwriting is credited to the entire band, even though individual members are sometimes responsible for writing the majority of a particular song.[115] Each member is given an equal vote in the songwriting process; however, Buck has conceded that Stipe, as the band's lyricist, can rarely be persuaded to follow an idea he does not favor.[61] Among the original line-up, there were divisions of labor in the songwriting process: Stipe would write lyrics and devise melodies, Buck would edge the band in new musical directions, and Mills and Berry would fine-tune the compositions due to their greater musical experience.[116]

Michael Stipe sings in what R.E.M. biographer David Buckley described as "wailing, keening, arching vocal figures".[117] Stipe often harmonizes with Mills in songs; in the chorus for "Stand", Mills and Stipe alternate singing lyrics, creating a dialogue.[118] Early articles about the band focused on Stipe's singing style (described as "mumbling" by The Washington Post), which often rendered his lyrics indecipherable.[119] Creem writer John Morthland wrote in his review of Murmur, "I still have no idea what these songs are about, because neither me nor anyone else I know has ever been able to discern R.E.M.'s lyrics."[120] Stipe commented in 1984, "It's just the way I sing. If I tried to control it, it would be pretty false."[121] Producer Joe Boyd convinced Stipe to begin singing more clearly during the recording of Fables of the Reconstruction.[122]

Stipe insisted that many of his early lyrics were "nonsense", saying in a 1994 online chat, "You all know there aren't words, per se, to a lot of the early stuff. I can't even remember them." In truth, Stipe carefully crafted the lyrics to many early R.E.M. songs.[123] Stipe explained in 1984 that when he started writing lyrics they were like "simple pictures", but after a year he grew tired of the approach and "started experimenting with lyrics that didn't make exact linear sense, and it's just gone from there."[121] In the mid-1980s, as Stipe's pronunciation while singing became clearer, the band decided that its lyrics should convey ideas on a more literal level.[124] Mills explained, "After you've made three records and you've written several songs and they've gotten better and better lyrically the next step would be to have somebody question you and say, are you saying anything? And Michael had the confidence at that point to say yes . . ."[125] Songs like "Cuyahoga" and "Fall on Me" on Lifes Rich Pageant dealt with such concerns as pollution.[126] Stipe incorporated more politically oriented concerns into his lyrics on Document and Green. "Our political activism and the content of the songs was just a reaction to where we were, and what we were surrounded by, which was just abject horror," Stipe said later. "In 1987 and '88 there was nothing to do but be active."[127] Stipe has since explored other lyrical topics. Automatic for the People dealt with "mortality and dying. Pretty turgid stuff", according to Stipe,[128] while Monster critiqued love and mass culture.[127]

Peter Buck playing guitar and smiling
Peter Buck's guitar-playing style has defined R.E.M.'s sound

Peter Buck's style of playing guitar has been singled out by many as the most distinctive aspect of R.E.M.'s music. During the 1980s, Buck's "economical, arpeggiated, poetic" style reminded British music journalists of 1960s American folk rock band The Byrds.[129] Buck has stated "[Byrds guitarist] Roger McGuinn was a big influence on me as a guitar player",[130] but said it was Byrds-influenced bands, including Big Star and The Soft Boys, that inspired him more.[131] Comparisons were also made with the guitar playing of Johnny Marr of alternative rock contemporaries The Smiths. While Buck professed being a fan of the group, he admitted he initially criticized the band simply because he was tired of fans asking him if he was influenced by Marr,[115] whose band had in fact made their debut after R.E.M.[131] Buck generally eschews guitar solos; he explained in 2002, "I know that when guitarists rip into this hot solo, people go nuts, but I don't write songs that suit that, and I am not interested in that. I can do it if I have to, but I don't like it."[132] Mike Mills' melodic approach to bass playing is inspired by Paul McCartney of The Beatles and Chris Squire of Yes; Mills has said, "I always played a melodic bass, like a piano bass in some ways . . . I never wanted to play the traditional locked into the kick drum, root note bass work."[133] Mills has more musical training than his band mates, which he has said "made it easier to turn abstract musical ideas into reality."[130]

Legacy[edit]

Pavement members standing before a brick wall posing in a black-and-white photo
Pavement is one of several alternative rock bands to cite R.E.M. as an influence; the band even wrote the song "The Unseen Power of the Picket Fence" about R.E.M.

R.E.M. was pivotal in the creation and development of the alternative rock genre. Allmusic stated, "R.E.M. mark the point when post-punk turned into alternative rock."[9] In the early 1980s, the musical style of R.E.M. stood in contrast to the post-punk and new wave genres that had preceded it. Music journalist Simon Reynolds noted that the post-punk movement of the late 1970s and early 1980s "had taken whole swaths of music off the menu", particularly that of the 1960s, and that "After postpunk's demystification and New Pop's schematics, it felt liberating to listen to music rooted in mystical awe and blissed-out surrender." Reynolds declared R.E.M., a band that recalled the music of the 1960s with its "plangent guitar chimes and folk-styled vocals" and who "wistfully and abstractly conjured visions and new frontiers for America", one of "the two most important alt-rock bands of the day."[134] With the release of Murmur, R.E.M. had the most impact musically and commercially of the developing alternative genre's early groups, leaving in its wake a number of jangle pop followers.[135]

R.E.M.'s early breakthrough success served as an inspiration for other alternative bands. Spin referred to the "R.E.M. model"—career decisions that R.E.M. made which set guidelines for other underground artists to follow in their own careers. Spin's Charles Aaron wrote that by 1985, "They'd shown how far an underground, punk-inspired rock band could go within the industry without whoring out its artistic integrity in any obvious way. They'd figured out how to buy in, not sellout-in other words, they'd achieved the American Bohemian Dream."[136] Steve Wynn of Dream Syndicate said, "They invented a whole new ballgame for all of the other bands to follow whether it was Sonic Youth or the Replacements or Nirvana or Butthole Surfers. R.E.M. staked the claim. Musically, the bands did different things, but R.E.M. was first to show us you can be big and still be cool."[137] Biographer David Buckley stated that between 1991 and 1994, a period that saw the band sell an estimated 30 million albums, R.E.M. "asserted themselves as rivals to U2 for the title of biggest rock band in the world."[138] Over the course of its career, the band has sold over 70 million records.[95]

Later alternative bands such as Nirvana, Pavement, and Live, have drawn inspiration from R.E.M.'s music. "When I was 15 years old in Richmond, Virginia, they were a very important part of my life," Pavement's Bob Nastanovich said, "as they were for all the members of our band." Pavement devoted the song "Unseen Power of the Picket Fence" from the No Alternative compilation (1993) to discussing Chronic Town and Reckoning.[139] Kurt Cobain of Nirvana was a vocal fan of R.E.M., and had plans to collaborate on a musical project with Stipe before his death in April 1994.[140] Cobain told Rolling Stone in an interview earlier that year, "I don’t know how that band does what they do. God, they’re the greatest. They’ve dealt with their success like saints, and they keep delivering great music."[141]

Campaigning and activism[edit]

Michael Stipe looking to the left of the camera, holding a bag and digital media player
Michael Stipe has used his celebrity status to support political and humanitarian causes; he is seen here at the 2007 Tribeca Film Festival, which was created to renew that neighborhood of New York City after the September 11, 2001 attacks

Throughout R.E.M.'s career, its members sought to highlight social and political issues. According to the Los Angeles Times, R.E.M. was considered to be one of the United States' "most liberal and politically correct rock groups."[142] The band's members were "on the same page" politically, sharing a liberal and progressive outlook.[143] Mills admitted that there was occasionally dissension between band members on what causes they might support, but acknowledged "Out of respect for the people who disagree, those discussions tend to stay in-house, just because we'd rather not let people know where the divisions lie, so people can't exploit them for their own purposes." An example is that in 1990 Buck noted that Stipe was involved with People for the Ethical Treatment of Animals, but the rest of the band were not.[144]

R.E.M. helped raise funds for environmental, feminist and human rights causes, and were involved in campaigns to encourage voter registration. During the Green tour, Stipe took time during sets to inform the audience about a variety of pressing socio-political issues.[145] Through the late 1980s and 1990s, the band (particularly Stipe) increasingly used its media coverage on national television to mention a variety of causes it felt were important. One example is when the band attended the 1991 MTV Video Music Awards, during which Stipe wore a half-dozen white shirts emblazoned with slogans including "rainforest", "love knows no colors", and "handgun control now".[146]

R.E.M. helped raise awareness of Aung San Suu Kyi and human rights violations in Burma, when they worked with the Freedom Campaign and the US Campaign for Burma.[147] Stipe himself ran ads for the 1988 supporting Democratic presidential candidate and Massachusetts governor Michael Dukakis over then-Vice President George H. W. Bush.[148] In 2004, the band participated in the Vote for Change tour that sought to mobilize American voters to support Democratic presidential candidate John Kerry.[149] R.E.M.'s political stance, particularly coming from a wealthy rock band under contract to a label owned by a multinational corporation, received criticism from former Q editor Paul Du Noyer, who criticized the band's "celebrity liberalism", saying, "It's an entirely pain-free form of rebellion that they're adopting. There's no risk involved in it whatsoever, but quite a bit of shoring up of customer loyalty."[150]

From the late 1980s, R.E.M. was involved in the local politics of its hometown of Athens, Georgia.[151] Buck explained to Sounds in 1987, "Michael always says think local and act local—we have been doing a lot of stuff in our town to try and make it a better place."[152] The band often donated funds to local charities and to help renovate and preserve historic buildings in the town.[153] R.E.M.'s political clout was credited with the narrow election of Athens mayor Gwen O'Looney twice in the 1990s.[154]

Discography[edit]

See also[edit]


References[edit]

  • Black, Johnny. Reveal: The Story of R.E.M. Backbeat, 2004. ISBN 0-87930-776-5
  • Buckley, David. R.E.M.: Fiction: An Alternative Biography. Virgin, 2002. ISBN 1-85227-927-3
  • Gray, Marcus. It Crawled from the South: An R.E.M. Companion. Da Capo, 1997. Second edition. ISBN 0-306-80751-3
  • Fletcher, Tony. Remarks Remade: The Story of R.E.M. Omnibus, 2002. ISBN 0-7119-9113-8.
  • Platt, John (editor). The R.E.M. Companion: Two Decades of Commentary. Schirmer, 1998. ISBN 0-02-864935-4
  • Sullivan, Denise. Talk About the Passion: R.E.M.: An Oral Biography. Underwood-Miller, 1994. ISBN 0-88733-184-X

Notes[edit]

  1. ^ Gray, p. 68
  2. ^ Gray, p. 47
  3. ^ Gray, p. 194
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  5. ^ a b Gumprecht, Blake. "R.E.M.". Alternative America. Winter 1983.
  6. ^ Holdship, Bill. "R.E.M.: Rock Reconstruction Getting There". Creem. September 1985.
  7. ^ Buckley, p. 30
  8. ^ Buckley, p. 39
  9. ^ a b Erlewine, Stephen Thomas. "R.E.M > Biography". Allmusic.com. Retrieved December 3, 2010. 
  10. ^ Buckley, p. 41
  11. ^ Buckley, p. 46
  12. ^ Buckley, p. 53–54
  13. ^ Sullivan, p. 27
  14. ^ Gray, p. 497
  15. ^ Buckley, p. 59
  16. ^ Buckley, p. 61–63
  17. ^ Buckley, p. 66–67
  18. ^ Grabel, Richard. "Nightmare Town". NME. December 11, 1982.
  19. ^ Buckley, p. 72
  20. ^ Buckley, p. 78
  21. ^ Buckley, p. 78–82
  22. ^ Buckley, p. 73
  23. ^ a b c d e f g h i j Buckley, p. 357–58
  24. ^ "Radio Free Europe". Rolling Stone. December 9, 2004. Retrieved on September 21, 2011.
  25. ^ Buckley, p. 95
  26. ^ Gray, p. 432
  27. ^ Gray, p. 434
  28. ^ Snow, Mat. "American Paradise Regained: R.E.M.'s Reckoning". NME. 1984.
  29. ^ Buckley, p. 115
  30. ^ Buckley, p. 131–32
  31. ^ Buckley, p. 135
  32. ^ "Interview with R.E.M.". Melody Maker. June 15, 1985.
  33. ^ Buckley, p. 140
  34. ^ Buckley, p. 159
  35. ^ Popson, Tom. "Onward and Upward and Please Yourself". Chicago Tribune. October 17, 1986.
  36. ^ Buckley, p. 151
  37. ^ Fletcher, p. 142
  38. ^ Buckley, p. 160
  39. ^ Fletcher, p. 146
  40. ^ De Muir, Harold. "There's No Reason It Shouldn't Be A Hit". East Coast Rocker. July 10, 1987.
  41. ^ Pareles, Jon (September 13, 1987). "R.E.M. conjures dark times on 'Document'". The New York Times. Archived from the original on January 11, 2008. Retrieved December 30, 2007. 
  42. ^ Fletcher, p. 157
  43. ^ Buckley, p. 163
  44. ^ Buckley, p. 174
  45. ^ Buckley, p. 177. Here, Jay Boberg claimed that R.E.M.'s deal with Warner Bros. was for $22 million, which Peter Buck disputed as "definitely wrong".
  46. ^ Fletcher, p. 170–71
  47. ^ Buckley, p. 179
  48. ^ Buckley, p. 180
  49. ^ Buckley, p. 183
  50. ^ a b c d Fletcher, p. 296
  51. ^ Buckley, p. 184
  52. ^ Buckley, p. 198
  53. ^ Fletcher, p. 181
  54. ^ Buckley, p. 209
  55. ^ a b Buckley, p. 287
  56. ^ Buckley, p. 205
  57. ^ Buckley, p. 204
  58. ^ Pareles, Jon (February 26, 1992). "Cole's 'Unforgettable' Sweeps the Grammys". The New York Times. Retrieved December 30, 2007. 
  59. ^ Buckley, p. 213
  60. ^ Buckley, p. 216
  61. ^ a b c Fricke, David. "Living Up to Out of Time/Remote Control: Parts I and II". Melody Maker. October 3, 1992.
  62. ^ Buckley, p. 218
  63. ^ Buckley, p. 217
  64. ^ Buckley, p. 236
  65. ^ Fletcher, p. 270
  66. ^ Buckley, p. 248
  67. ^ Buckley, p. 251–55
  68. ^ Buckley, p. 256
  69. ^ Fletcher, p. 274
  70. ^ Buckley, p. 258
  71. ^ Buckley, p. 269
  72. ^ Farley, Christopher John (December 16, 1996). "Waiting for the Next Big Thing". Time. Retrieved December 30, 2007. 
  73. ^ DeRogatis, Jim (Fall 1996). "New Adventures in R.E.M.". Request. Retrieved December 30, 2006. 
  74. ^ Buckley, p. 259
  75. ^ a b Longino, Miriam. "R.E.M.: To a different beat the famed Athens band becomes a threesome as drummer Bill Berry leaves to 'sit back and reflect'". Atlanta Journal-Constitution. October 31, 1997.
  76. ^ Buckley, p. 276
  77. ^ a b Buckley, p. 280
  78. ^ Black, p. 232
  79. ^ Black, p. 233
  80. ^ Buckley, p. 286
  81. ^ Buckley, p. 292
  82. ^ "R.E.M. To Score 'Man On The Moon'". VH1. March 1, 1999. Retrieved December 30, 2007. 
  83. ^ Black, p. 248–49
  84. ^ Buckley, p. 303
  85. ^ Buckley, p. 310
  86. ^ Buckley, p. 305
  87. ^ Friston, The Rev. Al. "REM: Reveal (Warner Bros.)". Rock's Backpages. December 2001.
  88. ^ Sheffield, Rob (May 1, 2001). "R.E.M.: Reveal". Rolling Stone. Archived from the original on November 4, 2007. Retrieved October 2, 2007. 
  89. ^ MTV News staff (October 14, 2003). "For The Record: Quick News On Hilary Duff, JC Chasez And Corey Taylor, Mary J. Blige, Deftones, Marilyn Manson & More". MTV. Retrieved July 1, 2007. 
  90. ^ Devenish, Colin (September 6, 2002). "R.E.M. Get Primitive". Rolling Stone. Archived from the original on January 11, 2008. Retrieved December 24, 2007. 
  91. ^ Graff, Gary (September 11, 2006). "R.E.M. Bringing Back The Rock On New Album". Billboard. Retrieved December 24, 2007. 
  92. ^ Cohen, Jonathan (September 5, 2006). "R.E.M. Plots One-Off Berry Reunion, New Album". Billboard. Retrieved July 1, 2007. 
  93. ^ "It's a Prydz and Stone double top". NME. UK. October 3, 2004. Retrieved December 30, 2007. 
  94. ^ Nusca, Andrew J. (May 2008). "Bill Rieflin – Steering R.E.M. Into Harder Waters". DRUMMagazine.com. Retrieved May 5, 2011. 
  95. ^ a b "R.E.M. inducted into Music Hall of Fame". USA Today. September 17, 2006. Retrieved May 12, 2012. 
  96. ^ Grossberg, Josh (March 14, 2007). "R.E.M. Back in the Studio". E! Online. Retrieved July 26, 2010. 
  97. ^ Cohen, Jonathan (March 12, 2007). "Original R.E.M. Quartet Covers Lennon For Charity". Billboard. Retrieved May 17, 2008. 
  98. ^ Ryan, Joal (October 30, 2006). "R.E.M., Van Halen Headed to Hall?". E! Online. Retrieved July 26, 2010. 
  99. ^ Cohen, Jonathan (March 13, 2007). "R.E.M., Van Halen Lead Rock Hall's '07 Class". Billboard. Retrieved July 1, 2007. 
  100. ^ "REM begin recording new album". NME. UK. May 24, 2007. Retrieved July 3, 2007. 
  101. ^ Cohen, Jonathan (August 21, 2007). "R.E.M. Preps First Concert CD/DVD Set". Billboard. Retrieved October 2, 2007. 
  102. ^ Hasty, Katie (April 9, 2008). "Strait Speeds Past R.E.M. To Debut At No. 1". Billboard. Retrieved April 10, 2008. 
  103. ^ Sexton, Paul (April 7, 2008). "R.E.M. Earns Eighth U.K. No. 1 Album". Billboard. Retrieved April 10, 2008. 
  104. ^ Fricke, David (April 3, 2008). "Accelerate review". Rolling Stone. Archived from the original on April 23, 2008. Retrieved April 10, 2008. 
  105. ^ Goodman, William (November 3, 2010). "R.E.M. Tap Eddie Vedder, Patti Smith for Next Album". Spin. Retrieved March 7, 2011. 
  106. ^ Caulfield, Keith (March 16, 2011). "Lupe Fiasco's 'Lasers' Lands at No. 1 on Billboard 200". Billboard. Retrieved March 30, 2011. 
  107. ^ Perpetua, Matt (July 8, 2011). "R.E.M. Begin Work on New Album". Rolling Stone. Straight Arrow Publishers Company, LP. Retrieved September 21, 2011. 
  108. ^ Hilton, Robin (September 21, 2011). "R.E.M. Calls It A Day, Announces Breakup". NPR.org. Retrieved September 21, 2011. 
  109. ^ Perpetua, Matthew (September 21, 2011). "R.E.M. Breaks Up After Three Decades". Rolling Stone. Straight Arrow Publishers Company, LP. Retrieved September 21, 2011. 
  110. ^ Fricke, David (September 26, 2011). "Exclusive: Mike Mills on Why R.E.M. Are Calling It Quits". Rolling Stone. Straight Arrow Publishers Company, LP. Retrieved September 26, 2011. 
  111. ^ McKinley, Jr., James C. (September 21, 2011). "The End of R.E.M., and They Feel Fine". The New York Times. Retrieved September 21, 2011. 
  112. ^ Hogan, Mike (November 3, 2011). "R.E.M. Won't Reunite, Michael Stipe Says on U.K. TV". Spin. Retrieved November 5, 2011. 
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  114. ^ Halbersberg, Elianna. "Peter Buck of R.E.M.". East Coast Rocker. November 30, 1988.
  115. ^ a b The Notorious Stuart Brothers. "A Date With Peter Buck". Bucketfull of Brains. December 1987.
  116. ^ Buckley, p. 85
  117. ^ Buckley, p. 87
  118. ^ Buckley, p. 180–81
  119. ^ Sasfy, Joe. "Reckoning with R.E.M.". The Washington Post. May 10, 1984.
  120. ^ Morthland, John. "R.E.M.: Murmur". Creem. July 1983.
  121. ^ a b Platt, John. "R.E.M.". Bucketfull of Brains. December 1984.
  122. ^ Buckley, p. 133
  123. ^ Buckley, p. 88
  124. ^ Buckley, p. 143
  125. ^ Buckley, p. 150
  126. ^ Buckley, p. 156–57
  127. ^ a b Olliffe, Michael. "R.E.M. in Perth". On the Street. January 17, 1995.
  128. ^ Cavanagh, David. "Tune in, cheer up, rock out". Q. October 1994.
  129. ^ Buckley, p. 77
  130. ^ a b Buckley, p. 81
  131. ^ a b Fletcher, p. 115
  132. ^ Buckley, p. 80
  133. ^ Buckley, p. 105
  134. ^ Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978–1984. Penguin, 2005. ISBN 0-14-303672-6, p. 392
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  136. ^ Aaron, Charles. "The R.E.M. method and other rites of passage". Spin: 20 Years of Alternative Music. Three Rivers Press, 2005. ISBN 0-307-23662-5, p. 18
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  138. ^ Buckley, p. 200
  139. ^ Aaron, Charles. "R.E.M. Comes Alive". Spin. August 1995.
  140. ^ Buckley, p. 239–40
  141. ^ Fricke, David. "Kurt Cobain: The Rolling Stone Interview." Rolling Stone. January 27, 1994
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  144. ^ Buckley, p. 197
  145. ^ Buckley, p. 186
  146. ^ Buckley, p. 195–96
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  151. ^ Buckley, p. 192
  152. ^ Wilkinson, Roy. "The Secret File of R.E.M.". Sounds. September 12, 1987.
  153. ^ Buckley, p. 194
  154. ^ Buckley, p. 195

External links[edit]