Talk About the Passion - R.E.M.'s Discography Reviewed

storymilo · 02-04-2010, 06:07 PM

Quote:

Originally Posted by Rickenbacker

Thanks for the input both of you! Expect the review of Document up tomorrow. I've got a school dance that day and of course I would rather write some R.E.M. reviews.

I live a sad sad life

Nah, I don't know about your school dances but it's much more worthwhile staying home from mine than subjecting yourself to the shitty music, shitty dancing, and shitty everything.

Rickenbacker · 02-04-2010, 06:22 PM

Word. Document is next.

Rickenbacker · 02-07-2010, 01:06 PM

Document
Released 1987
I.R.S. Records

The time to rise has been engaged

I doubt that truer words have ever opened an album. With this line from "Finest Worksong", R.E.M.'s fifth record begins. Due to its incredible commercial success and the rising popularity of the band, Document would be their last released on I.R.S. records., and would carry them down the path to international stardom, wealth and musical freedom they had never before experienced.

But at what cost?

It's easy to blame document for R.E.M.'s Warner Brother's Era mediocrity. Document sounds mainstream. It was trying to be mainstream. It became mainstream, and with that it was arguably the indirect reason for records like Around the Sun. In a sense, Document is R.E.M.'s "The Joshua Tree": polished, popular, pervasive and the "big break" for both bands. Without Document, R.E.M. would have fallen to the same fate as the Feelies and the Violent Femmes, still playing small shows and eventually petering out whilst retaining their signature sound despite financial hardships and dwindling success. But that isn't R.E.M., the multi-million dollar megastars who once declared that the "Everybody hurts, everybody cries", and like it or not, it's all because of Document. But while we can in a way blame the record for its own success, blaming it for the sporadically brilliant and at times not-so-brilliant by products of that success is hardly fair.

Rather, examining how Document became successful is what is important to do when analyzing this record. No one can effectively predict an album to be a hit, but by 1987, R.E.M. seemed to have a fairly clear idea of how to attain it. Working off the musical path laid in place by Don Gehman's production on Lifes Rich Pageant, producer Scott Litt took Document one step further. Until then, Michael's vocals had been audible at times but indiscernible more often than not. On Document, Stipe sings with a clear and resonant tenor that dominates the album. As a result, the guitars and bass are oftened drowned out, and Mike Mills harmonies are nowhere to be found. This is a slight problem, as Michael never was and never will be Bono, and while he is a great frontman, his voice simply doesn't work as a centerpiece of an album. Herein lies the overwhelming difference between Lifes Rich Pageant and Document in terms of sound. Whereas the former was a guitar album in every sense, the latter is more mismatched; trying to glean from Michael's voice something that he doesn't possess, that is, the ability to belt. And as such, these eleven songs ultimately fail to serve their purpose as anti-establishment political anthems.

In 1987, College students loved two things: R.E.M. and hating Ronald Reagan. As their most lyrically political album to date, Document bridged the gap between the two, thus beginning their short-lived two album stint in which they openly linked political beliefs with their music. The college kids bought into it because of sheer prospect, but I don't. With 20 years of political music since Document and ever more before its release, the whole idea is becoming quite tired. Without the songwriting, production or Henry Rollins-like frontman to back it up, Document fails despite Bill Berry's best drumming ever on tracks like Lightnin' Hopkins and Finest Worksong.

However, when they lay down their picket signs for song or two is when this album begins to show its strength. The One I Love, which would become a top ten single, is led by a classic riff and a one word chorus to die for (see "FIIIIAAAAAAAAAHH"). It is a classic alternative love song, or rather a song about love, as it is in actuality a harsh snide kiss-off to lovers "left behind". Lightnin' Hopkins is even better, with an absolutely cracking beat and catchy harmonious chorus. It is only brought down by Michael's vocal, too loud and overdone to the point of near annoyance. However, the only point at which the album achieves near perfection is with the closing song Oddfellow's Local 151. The haunting vocal performance from Michael Stipe is great, but the instrumentation makes the song brilliant, as Mike Mill's Joy Division-esque bass line plods along to the beat of Berry's drum. Buck's guitar, double tracked and distorted is not lost amongst these musical forces, thankfully, and as a result, Oddfellows is very different from any R.E.M. song before or since. They never tried this formula again, but on Oddfellows it works with great results. Unfortunately, these songs, plus the rabble-rousing classic "It's the End of the World As We Know It (And I Feel Fine)" are not enough to make the album great, and it rests firmly as the worst record of the I.R.S. Years. (Sorry Jackhammer

)

Key Tracks (Click to Download): "The One I Love", "Lightnin' Hopkins", "Oddfellows Local 151"

7/10

Next Step: U2 - War

JJJ567 · 02-08-2010, 09:46 PM

Document is definitely a different side to the band. While it was their breakout album, they managed to break the mainstream without losing any credibility in my mind. I personally would give it an 8, but this is your thread. I am just glad somebody is taking the time to discuss their albums.

I'm still not quite sure how I'd rate Green. I guess I'll take your opinion into consideration when you post it.

Rickenbacker · 02-11-2010, 02:16 PM

Thanks for the comment, JJJ. I appreciate it.

Just to let everyone know, I'm going to be away for the next few days in New Orleans, maybe actually enjoying life for a change. Who knows.

I will pick up with Dead Letter Office when I get back. cheers

storymilo · 02-11-2010, 02:23 PM

So are your "next step" albums just albums that you think were influenced by these releases?

Rickenbacker · 02-11-2010, 02:30 PM

War came out four years before Document.

So no.

The next step album is just an album with a similar sound/message, and may be a little better or a little worse. Similarity is the key.

storymilo · 02-11-2010, 02:35 PM

Quote:

Originally Posted by Rickenbacker

War came out four years before Document.

So no.

The next step album is just an album with a similar sound/message, and may be a little better or a little worse. Similarity is the key.

ah ok.

Figures that U2 would be similar to the lowest rated album.....

kafkaandcoffee · 02-11-2010, 09:02 PM

alright... i give in. first of all i think they should be given a gold star because in my opinion nothing sans peaches comes out of georgia that is good. i like r.e.m. because i generally like bands that use a subtle vocal harmony and melodic phrasing. i; however, am not an r.e.m. fangirl because i really don't care for Michael Stipe's wailing and keening vocals. The words can be somewhat hard to understand at first listen. I like them and enjoy them... just not in my most played songs on my ipod so to say.

you asked for it. there you go. haha.

Rickenbacker · 02-16-2010, 06:30 PM

Dead Letter Office
Released 1987
I.R.S. Records

In the months following Lifes Rich Pageant and before the release of Document, I.R.S. Records and R.E.M. compiled a collection of B-sides, covers and alternate versions of various album tracks. In an effort to capitalize on R.E.M.'s devoted college fan base, this compilation was released as Dead Letter Office.

1. Crazy (B-Side of Driver 8 and Wendell Gee)
Crazy was originally written by fellow Athens, Georgia band Pylon for their 1983 album Chomp. Like their New Jersey counterparts the Feelies, Pylon were incredibly influential to the alternative rock movement and instrumental in its evolution from post-punk to college rock. R.E.M. pays tribute with this well played cover; nearly as dark as the original but more accessible. Mike Mills bass stands out against the murky textures of Buck's guitar, making Crazy an early highlight of the compilation.

2. There She Goes Again (B-Side of I.R.S. version of Radio Free Europe)
In their earlier years, R.E.M. had always had a penchant for Velvet Underground covers. While the Velvets originals are often forebodingly rough and dissonant, R.E.M.'s versions have been melodic and melancholy. Unfortunately, when they try to "rock out" to the VU and Nico classic, it simply doesn't work. Mills' harmonies are a mess; not fitting those of the Velvet Underground's at all. The original song only works because of Lou Reeds end monologue "She's gonna work it out, bye bye", and that too is missing from R.E.M.'s cover.

3. Burning Down (B-Side of Wendell Gee)
The first original song on the compilation, Burning Down is actually quite good, with a catchy chorus and trademark jangley guitar licks throughout. While not stylistically in tune with Fables of the Reconstruction of Lifes Rich Pageant, Burning Down would have been well suited on the more pop inflected Reckoning. My only qualms with this song is the length. While the lyrics and instrumentation are decent, the 4:12 length is simply too long. Still, Burning Down is a highlight.

4. Voice of Harold (B-Side of So. Central Rain)
Reckoning fans will love Voice of Harold, even for its somewhat gimmicky nature. Set to the backing track of the Reckoning classic 7 Chinese Bros., Michael Stipe sings the liner notes of The Joy of Knowing Jesus, a gospel album by the Revelaires. It may seem like a joke, but it's actually quite good, at least until he starts reading the "thank yous." The song is definitely a testament to Michael's inability to sing clearly... who knew he was saying "The Joy of Knowing Jesus, Produced by Joel Gentry, Cover/Backliner Design/Reesor?"

5. Burning Hell (B-Side of Can't Get There From Here)
Burning Hell is either a bad joke or a horrible attempt at sounding br00tal. I've always thought that Michael's atrocious vocal delivery was parodying hair metal vocalists of the day... let's hope so, because this song is really bad.

6. White Tornado (Recorded during the 1981 Radio Free Europe sessions)
This lackluster instrumental serves as proof that in 1981, Bill Berry was the only member of R.E.M. who could actually play an instrument.

7. Toys in the Attic (B-Side of Fall On Me)
Wow, thank god this arrived when it did! On paper, R.E.M. covering Aerosmith sounds like a joke. However, somehow this cover is incredible! The instrumentation is very tight, with a stellar guitar solo and a grooving bassline. R.E.M. are in top form here, keeping the song under three minutes and breathing new life into a tired "classic". Not only is it perhaps the best song on Dead Letter Office, this cover was one of my favorite childhood songs.

8. Windout (From the Bachelor Party soundtrack)
Remember the live version of Windout from the Reckoning reissue? That was some hardcore playing, and one of the most raw performances put to tape by the band. Unfortunately, this studio take is soulless and boring, but serves as a testament to the power of a live show to make better any song.

9. Ages of You (B-Side of Wendell Gee)
Another song that would have fit well on Reckoning, Ages of You is slightly better than Burning Down, with a better chorus and imagery filled lyrics that give it the edge. The syncopation of the guitar and bass in the bridge is nice also. As a result, Ages of You is the best R.E.M. original on Dead Letter Office. I just wish I could understand the chorus beyond the "ages of you" line. The rest sounds like "Wadada da da eh"

10. Pale Blue Eyes (B-Side of So. Central Rain)
The Velvet Underground's 1969 original version of Pale Blue Eyes is one of the saddest and simply greatest songs ever. R.E.M.'s version begins similarly, with a hushed and fragile Michael Stipe delivering that unforgettably paradoxical opening line "Sometimes I feel so happy, sometimes I feel so sad." However when the chorus comes around, Peter Buck's guitar tracks chime to Berry's confident drum, making the song a much livelier countrified track. Since the original is so heartbreaking and this version is so upbeat, one might think it blasphemous. However, something about this version saves it, making it one of my favorite Velvet Underground covers. Also, Peter Buck's guitar solo > Lou Reed's.

11. Rotary Ten (B-Side of Fall On Me)
Rotary Ten is another somewhat pointless instrumental that does little else than showcase Peter Buck's guitar abilities, which sound pretty good here. It's also more than a little Tom Waits-y.

12. Bandwagon (B-Side of Can't Get There From Here)
This song was co-written by Michael's sister Lynda of the band Oh-OK, whose complete discography record is pretty good. This song, however, is bland and boring, and Michael's affected southern accent is annoying.

13. Femme Fatale (B-Side of Superman)
Femme Fatale is yet another classic Velvet Underground song, originally sung by Nico on the Velvets' debut record. I actually prefer Michael's vocal, as well as Mill's understated harmonies to the original version. The guitar line is classic R.E.M., but not to the point that it detracts from the song's innocent beauty.

14. Walter's Theme (B-Side of So. Central Rain)
This song is so stupid. Apparently they were drunk when the band recorded this. Stipe is rambling in the backround, and I don't know what's going on.

15. King Of The Road (B-Side of So. Central Rain)
This is equally stupid as Walter's Theme but much more fun and kind of hilarious. I think that this song, a cover of Roger Miller's 1965 hit is meant as a joke. Apparently it was recorded when they were drunk as well.

In summation, R.E.M. are simply not a b-sides band. Many of these songs, while fun, are not nearly up to par with their album material. However, the few quality songs present are enough to make this compilation worthwhile.

Key Tracks (Click to Download): "Crazy", "Ages of You", "Pale Blue Eyes"

5/10

02-04-2010, 06:22 PM	#2 (permalink)
Rickenbacker / Join Date: May 2009 Location: The Conn Posts: 1,338	Word. Document is next. __________________ last.fm rym Talk About the Passion - R.E.M.'s Discography Reviewed

02-07-2010, 01:06 PM	#3 (permalink)
Rickenbacker / Join Date: May 2009 Location: The Conn Posts: 1,338	Document Released 1987 I.R.S. Records *The time to rise has been engaged* I doubt that truer words have ever opened an album. With this line from "Finest Worksong", R.E.M.'s fifth record begins. Due to its incredible commercial success and the rising popularity of the band, Document would be their last released on I.R.S. records., and would carry them down the path to international stardom, wealth and musical freedom they had never before experienced. But at what cost? It's easy to blame document for R.E.M.'s Warner Brother's Era mediocrity. Document sounds mainstream. It was trying to be mainstream. It became mainstream, and with that it was arguably the indirect reason for records like Around the Sun. In a sense, Document is R.E.M.'s "The Joshua Tree": polished, popular, pervasive and the "big break" for both bands. Without Document, R.E.M. would have fallen to the same fate as the Feelies and the Violent Femmes, still playing small shows and eventually petering out whilst retaining their signature sound despite financial hardships and dwindling success. But that isn't R.E.M., the multi-million dollar megastars who once declared that the "Everybody hurts, everybody cries", and like it or not, it's all because of Document. But while we can in a way blame the record for its own success, blaming it for the sporadically brilliant and at times not-so-brilliant by products of that success is hardly fair. Rather, examining how Document became successful is what is important to do when analyzing this record. No one can effectively predict an album to be a hit, but by 1987, R.E.M. seemed to have a fairly clear idea of how to attain it. Working off the musical path laid in place by Don Gehman's production on Lifes Rich Pageant, producer Scott Litt took Document one step further. Until then, Michael's vocals had been audible at times but indiscernible more often than not. On Document, Stipe sings with a clear and resonant tenor that dominates the album. As a result, the guitars and bass are oftened drowned out, and Mike Mills harmonies are nowhere to be found. This is a slight problem, as Michael never was and never will be Bono, and while he is a great frontman, his voice simply doesn't work as a centerpiece of an album. Herein lies the overwhelming difference between Lifes Rich Pageant and Document in terms of sound. Whereas the former was a guitar album in every sense, the latter is more mismatched; trying to glean from Michael's voice something that he doesn't possess, that is, the ability to belt. And as such, these eleven songs ultimately fail to serve their purpose as anti-establishment political anthems. In 1987, College students loved two things: R.E.M. and hating Ronald Reagan. As their most lyrically political album to date, Document bridged the gap between the two, thus beginning their short-lived two album stint in which they openly linked political beliefs with their music. The college kids bought into it because of sheer prospect, but I don't. With 20 years of political music since Document and ever more before its release, the whole idea is becoming quite tired. Without the songwriting, production or Henry Rollins-like frontman to back it up, Document fails despite Bill Berry's best drumming ever on tracks like Lightnin' Hopkins and Finest Worksong. However, when they lay down their picket signs for song or two is when this album begins to show its strength. The One I Love, which would become a top ten single, is led by a classic riff and a one word chorus to die for (see "FIIIIAAAAAAAAAHH"). It is a classic alternative love song, or rather a song about love, as it is in actuality a harsh snide kiss-off to lovers "left behind". Lightnin' Hopkins is even better, with an absolutely cracking beat and catchy harmonious chorus. It is only brought down by Michael's vocal, too loud and overdone to the point of near annoyance. However, the only point at which the album achieves near perfection is with the closing song Oddfellow's Local 151. The haunting vocal performance from Michael Stipe is great, but the instrumentation makes the song brilliant, as Mike Mill's Joy Division-esque bass line plods along to the beat of Berry's drum. Buck's guitar, double tracked and distorted is not lost amongst these musical forces, thankfully, and as a result, Oddfellows is very different from any R.E.M. song before or since. They never tried this formula again, but on Oddfellows it works with great results. Unfortunately, these songs, plus the rabble-rousing classic "It's the End of the World As We Know It (And I Feel Fine)" are not enough to make the album great, and it rests firmly as the worst record of the I.R.S. Years. (Sorry Jackhammer ) Key Tracks (Click to Download): "The One I Love", "Lightnin' Hopkins", "Oddfellows Local 151" 7/10 Next Step: U2 - War __________________ last.fm rym Talk About the Passion - R.E.M.'s Discography Reviewed Last edited by Rickenbacker; 02-07-2010 at 01:28 PM.

02-08-2010, 09:46 PM	#4 (permalink)
JJJ567 Music Addict Join Date: Jan 2009 Posts: 120	Document is definitely a different side to the band. While it was their breakout album, they managed to break the mainstream without losing any credibility in my mind. I personally would give it an 8, but this is your thread. I am just glad somebody is taking the time to discuss their albums. I'm still not quite sure how I'd rate Green. I guess I'll take your opinion into consideration when you post it. __________________ http://www.last.fm/user/JJJ567

02-11-2010, 02:16 PM	#5 (permalink)
Rickenbacker / Join Date: May 2009 Location: The Conn Posts: 1,338	Thanks for the comment, JJJ. I appreciate it. Just to let everyone know, I'm going to be away for the next few days in New Orleans, maybe actually enjoying life for a change. Who knows. I will pick up with Dead Letter Office when I get back. cheers __________________ last.fm rym Talk About the Passion - R.E.M.'s Discography Reviewed

02-11-2010, 02:30 PM	#7 (permalink)
Rickenbacker / Join Date: May 2009 Location: The Conn Posts: 1,338	War came out four years before Document. So no. The next step album is just an album with a similar sound/message, and may be a little better or a little worse. Similarity is the key. __________________ last.fm rym Talk About the Passion - R.E.M.'s Discography Reviewed

02-11-2010, 02:23 PM	#6 (permalink)
storymilo Music Addict Join Date: Jun 2009 Posts: 1,845	So are your "next step" albums just albums that you think were influenced by these releases?

02-11-2010, 09:02 PM	#9 (permalink)
kafkaandcoffee Groupie Join Date: Feb 2010 Location: Indiana Posts: 9	alright... i give in. first of all i think they should be given a gold star because in my opinion nothing sans peaches comes out of georgia that is good. i like r.e.m. because i generally like bands that use a subtle vocal harmony and melodic phrasing. i; however, am not an r.e.m. fangirl because i really don't care for Michael Stipe's wailing and keening vocals. The words can be somewhat hard to understand at first listen. I like them and enjoy them... just not in my most played songs on my ipod so to say. you asked for it. there you go. haha.

02-16-2010, 06:30 PM	#10 (permalink)
Rickenbacker / Join Date: May 2009 Location: The Conn Posts: 1,338	Dead Letter Office Released 1987 I.R.S. Records In the months following Lifes Rich Pageant and before the release of Document, I.R.S. Records and R.E.M. compiled a collection of B-sides, covers and alternate versions of various album tracks. In an effort to capitalize on R.E.M.'s devoted college fan base, this compilation was released as Dead Letter Office. 1. Crazy (B-Side of Driver 8 and Wendell Gee) Crazy was originally written by fellow Athens, Georgia band Pylon for their 1983 album Chomp. Like their New Jersey counterparts the Feelies, Pylon were incredibly influential to the alternative rock movement and instrumental in its evolution from post-punk to college rock. R.E.M. pays tribute with this well played cover; nearly as dark as the original but more accessible. Mike Mills bass stands out against the murky textures of Buck's guitar, making Crazy an early highlight of the compilation. 2. There She Goes Again (B-Side of I.R.S. version of Radio Free Europe) In their earlier years, R.E.M. had always had a penchant for Velvet Underground covers. While the Velvets originals are often forebodingly rough and dissonant, R.E.M.'s versions have been melodic and melancholy. Unfortunately, when they try to "rock out" to the VU and Nico classic, it simply doesn't work. Mills' harmonies are a mess; not fitting those of the Velvet Underground's at all. The original song only works because of Lou Reeds end monologue "She's gonna work it out, bye bye", and that too is missing from R.E.M.'s cover. 3. Burning Down (B-Side of Wendell Gee) The first original song on the compilation, Burning Down is actually quite good, with a catchy chorus and trademark jangley guitar licks throughout. While not stylistically in tune with Fables of the Reconstruction of Lifes Rich Pageant, Burning Down would have been well suited on the more pop inflected Reckoning. My only qualms with this song is the length. While the lyrics and instrumentation are decent, the 4:12 length is simply too long. Still, Burning Down is a highlight. 4. Voice of Harold (B-Side of So. Central Rain) Reckoning fans will love Voice of Harold, even for its somewhat gimmicky nature. Set to the backing track of the Reckoning classic 7 Chinese Bros., Michael Stipe sings the liner notes of The Joy of Knowing Jesus, a gospel album by the Revelaires. It may seem like a joke, but it's actually quite good, at least until he starts reading the "thank yous." The song is definitely a testament to Michael's inability to sing clearly... who knew he was saying "The Joy of Knowing Jesus, Produced by Joel Gentry, Cover/Backliner Design/Reesor?" 5. Burning Hell (B-Side of Can't Get There From Here) Burning Hell is either a bad joke or a horrible attempt at sounding br00tal. I've always thought that Michael's atrocious vocal delivery was parodying hair metal vocalists of the day... let's hope so, because this song is really bad. 6. White Tornado (Recorded during the 1981 Radio Free Europe sessions) This lackluster instrumental serves as proof that in 1981, Bill Berry was the only member of R.E.M. who could actually play an instrument. 7. Toys in the Attic (B-Side of Fall On Me) Wow, thank god this arrived when it did! On paper, R.E.M. covering Aerosmith sounds like a joke. However, somehow this cover is incredible! The instrumentation is very tight, with a stellar guitar solo and a grooving bassline. R.E.M. are in top form here, keeping the song under three minutes and breathing new life into a tired "classic". Not only is it perhaps the best song on Dead Letter Office, this cover was one of my favorite childhood songs. 8. Windout (From the Bachelor Party soundtrack) Remember the live version of Windout from the Reckoning reissue? That was some hardcore playing, and one of the most raw performances put to tape by the band. Unfortunately, this studio take is soulless and boring, but serves as a testament to the power of a live show to make better any song. 9. Ages of You (B-Side of Wendell Gee) Another song that would have fit well on Reckoning, Ages of You is slightly better than Burning Down, with a better chorus and imagery filled lyrics that give it the edge. The syncopation of the guitar and bass in the bridge is nice also. As a result, Ages of You is the best R.E.M. original on Dead Letter Office. I just wish I could understand the chorus beyond the "ages of you" line. The rest sounds like "Wadada da da eh" 10. Pale Blue Eyes (B-Side of So. Central Rain) The Velvet Underground's 1969 original version of Pale Blue Eyes is one of the saddest and simply greatest songs ever. R.E.M.'s version begins similarly, with a hushed and fragile Michael Stipe delivering that unforgettably paradoxical opening line "Sometimes I feel so happy, sometimes I feel so sad." However when the chorus comes around, Peter Buck's guitar tracks chime to Berry's confident drum, making the song a much livelier countrified track. Since the original is so heartbreaking and this version is so upbeat, one might think it blasphemous. However, something about this version saves it, making it one of my favorite Velvet Underground covers. Also, Peter Buck's guitar solo > Lou Reed's. 11. Rotary Ten (B-Side of Fall On Me) Rotary Ten is another somewhat pointless instrumental that does little else than showcase Peter Buck's guitar abilities, which sound pretty good here. It's also more than a little Tom Waits-y. 12. Bandwagon (B-Side of Can't Get There From Here) This song was co-written by Michael's sister Lynda of the band Oh-OK, whose complete discography record is pretty good. This song, however, is bland and boring, and Michael's affected southern accent is annoying. 13. Femme Fatale (B-Side of Superman) Femme Fatale is yet another classic Velvet Underground song, originally sung by Nico on the Velvets' debut record. I actually prefer Michael's vocal, as well as Mill's understated harmonies to the original version. The guitar line is classic R.E.M., but not to the point that it detracts from the song's innocent beauty. 14. Walter's Theme (B-Side of So. Central Rain) This song is so stupid. Apparently they were drunk when the band recorded this. Stipe is rambling in the backround, and I don't know what's going on. 15. King Of The Road (B-Side of So. Central Rain) This is equally stupid as Walter's Theme but much more fun and kind of hilarious. I think that this song, a cover of Roger Miller's 1965 hit is meant as a joke. Apparently it was recorded when they were drunk as well. In summation, R.E.M. are simply not a b-sides band. Many of these songs, while fun, are not nearly up to par with their album material. However, the few quality songs present are enough to make this compilation worthwhile. Key Tracks (Click to Download): "Crazy", "Ages of You", "Pale Blue Eyes" 5/10 __________________ last.fm rym Talk About the Passion - R.E.M.'s Discography Reviewed Last edited by Rickenbacker; 03-25-2010 at 09:44 AM.

Thread Tools
Show Printable Version Email this Page
Display Modes
Switch to Linear Mode Hybrid Mode Switch to Threaded Mode