What's New?: 1.30.2014

On today's episode: NEW WAVE EXTRAVAGANZA!

Squeeze — self-titled (1978)

The Squeeze's first album is a lot more stock new wave than anything that followed. The rumour is that most of the material was written on the spot, under pressure. So, there you have it. There are some excellent pop songs throughout though: most obviously the hit 'Take Me I'm Yours', but there's also the super catchy 'Strong in Reason.'  I'm also partial to the funky psychedelic instrumental 'Wild Sewage Tickles Brazil.'  Otherwise, there's just not enough of the sort of well thought-out songcraft that Squeeze would become known for.  It's definitely their most "punk" sounding album, but that has more to do with how amateur it sounds, not because that's what they were going for.

The Jazz Butcher — The Gift of Music (mid-1980's)

It's taken me years to track down these Jazz Butcher albums. They are of interest to me because David J plays on them. And, you know, I should have just had some Jazz Butcher albums in my collection before now anyway because it's very British, very jangly music. Right up my alley. This album is a collection of singles and b-sides and it's very whimsical and nice. The first song is 'Southern Mark Smith', so that's an idea of what you're in for here.  There's a cover of the Modern Lovers' 'Roadrunner' which is pure fun, but there's also more introspective moments like 'Rain' that are just excellent.  Overall, kind of goofy music, but plenty of jangly guitars and earnest harmonies for me to dig it.

The Jazz Butcher — Sex and Travel (1985)

Bit more even overall, and that makes sense because this was its own release, not a collection. It kicks off with the sophisticated jangle of 'Big Saturday' and that one just wins over and over again.  The ballad 'Only A Rumour' is a rare moment of venerability and it's also a highlight.  The soundtrack-y 'Walk With the Devil' is an unexpected moment of epic scope that works incredibly well.  Overall, yeah: good stuff.  I will definitely be on the lookout for more Jazz Butcher stuff, regardless if David J is involved or not.

Dexys Midnight Runners — Searching for the Young Soul Rebels (1980)

Dexys' first album is a full on, horn-sectioned new wave soul album.  Because Dexys first came out of the Northern Soul movement, this makes perfect sense.  At times, the horns blasting away does feel a bit gimmicky, but the tunes are darn catchy and are played at punk speeds, so the whole whooses by in no time.  'Geno' was the big hit and is a worthy song to be remembered for.  Kevin Rowland had others up his sleeve, though.  Not a super amazing album, but darn good fun.

The Waterboys — This is the Sea (1985)

The last Waterboys album I needed to complete my 80's collection.  And it's a good one!  It sounds like A Pagan Place, but with better songs, basically.  Still a very large (arguably overproduced) presentation of the music, but with songs as good as the opener 'Don't Bang the Drum', that doesn't matter.  It's a very big, arena-ready melodramatic sound, totally mid-80's.  There's just some days when I want that borderline cheesy sound and, it seems like, the Waterboys always hit that specific node of sound that I'm looking for most perfectly.  Check out 'The Pan Within' for a preview of where the band would go on Fisherman's Blues.  Overall, not the best Waterboys album, but definitely in the running for #2.

The Mighty Lemon Drops — Happy Head (1986)

The first Lemon Drops' album has eluded me for years, but here we finally have it.  This band definitely does one thing really well, so if you're not a fan, too bad for you.  This thing is kind of top loaded with all the best, and most diverse, tunes up front.  So, by the end of the album, everything starts sounding the same.  But, those highlights are good enough to make up for it.  They have a really rockin' Rickenbacker retro-60's repertoire that's just fun.  Have a listen to 'All the Way' for an idea of what the Beatles would've sounded like as a punk band.  And there's lots of that sort of thing here.  I think the Lemon Drops got lost in the retroactive shuffle because they had a sound that was so reminiscent of other bands, while adding very little of their own.  But they did that sound so well, so I don't mind.  Definitely nice to finally have this album around.

The Jam — In the City (1977)

The Jam's first album is usually considered a punk landmark.  And it certainly is one of the defining albums of the initial British punk era, but it's a little uneven.  Paul Weller hadn't quite mastered a pop hook yet, so only a few really good ones pop up.  Chief among those being the enduring classic title track.  Paul Weller's stinging and ringing Rickenbacker guitar defines the sound of this album, for better or worse (it gets a little samey, after all).  As a debut album by a punk band, it showed absolutely no promise, but most punk bands weren't really meant to last past an album or two anyway, so that makes perfect sense.

The Jam — Setting Sons (1979)

Still blasting out those power trio performances, but the song craft here is amazing.  Just have a listen to 'Private Hell.'  Whoo, that's a great song.  There's a bit more of a produced, jangly sound to some of the songs, so something like 'Wasteland' comes off as a nice reserved change of pace.  And then, of course, there's 'Smithers-Jones' which is so dissimilar than any previous Jam song, it gets by on sheer uniqueness.  This is the CD reissue from the early 2000's that nearly doubles the running time of the album with bonus tracks (and it does include the more conventional arrangement of the single version of 'Smithers-Jones').  All the bonus material sits right in with the proper album and it's a darn fine affair, I'd say.  Not the best Jam album, but certainly one of their better ones.

The Jam — All Mod Cons (1978)

This is probably my favorite Jam album. It still has the punk snarl, but it's like, really sophisticated about it. Not pompous, just maybe a little cocky. Just have a listen to 'To Be Someone' for a perfect example of what I mean.  Of course, there's the enduring ballad 'English Rose' which was the first indication that the Jam meant serious business as far as not being considered just a punk band.  The whole album is just ace and that it ends with the ambitious mini-epic 'Down in the Tube Station at Midnight' is really appropriate because this album really does seem like the Jam fulfilling their potential for the first time.

Throwing Muses — The Curse (1992)

Recorded across two nights in London in support of Red Heaven, this paints the picture of the band as a very loud, nearly shoegazey unit.  The version of 'Fish' is scorching and flailing — I've not heard a better rendition, I'd reckon.  Kristin picks up her acoustic late in the disc, but it's mostly a relentlessly rockin' affair, focusing on Red Heaven, Hunkpapa and Real Ramona material.  Wonderful find after many years of knowing about this one without ever actually having heard it.

Throwing Muses — Firepile EPs (1992)

Released as a two part single in the UK, collectively, you get six b-sides, including the oft-played live Jimi Hendrix cover 'Manic Depression' and the great original tune 'Snailhead.'  Elsewhere, you get a jangly Velvet Underground cover and, all told, this was another super find, as these things have been out of print for a good decade and a half.  Fun stuff to add to the collection.

XTC — Black Sea (1980)

XTC was so damn consistent in the early 80's. Let's just pick a random song from this album and see how awesome it is: 'Paper and Iron.'  There.  Just, there.  See what I mean?  Of course, this one begins with the all-time XTC classic 'Respectable Street', so you know you're in for a wonderful ride.  Everything has that big drum sound and that angular riffing, which you could argue was formulaic, but when the formula was this productive, how could you possibly be mad?  This CD reissue tacks on some extra tracks that only add to the album's appeal.

XTC — English Settlement (1982)

Ask many an XTC fan their all time favorite album and I'd bet at least two-thirds would say English Settlement.  There's a sense of airy space in the production here and it allows you, as the listener, to really focus on the layers and song craft involved in everything here.  When the album begins with the atmospheric 'Runaways' you know there's been a change in thought, of sorts.  Then, of course, there's that one tune you may have heard.  Layered jangly heaven, I'd say.  The whole album is strong and it feels like step up in every aspect.  Like I said, if they were one thing in the early 80's it was damn consistent.

R.E.M. — Daysleeper EP (1998)

Up b-sides?  Yes, please!  The instrumental 'Emphysema' is a strange, vibes and accordion thing that is pure fun.  The winner is the "Oxford American Version" of 'Why Not Smile' which is basically an acoustic version.  Nothing revelatory, but I'm a big fan of this era of the band, so I'm fascinated by it nonetheless.

Edwyn Collins — Hellbent on Compromise (1990)

The sort of stock, overproduced jangle that Roddy Frame was also doing at the time. It is a bit more acoustic-based overall than what Roddy was up to and always with Edwyn's healthy dose of wit and sarcasm. Perhaps more earnest than usual, but the production is a little too slick for its own good. The eerie opener 'Means to an End' is a highlight and it's a shame that the rest of the album's material wasn't given as thoughtful treatment.

The Wake — A Light Far Out (2012) 

How I missed this one, I don't know.  But, man, is it good.  Just have a listen to the opening tune 'Stockport' and realize that this is a new record by these guys.  They do just about everything here: the jangly stuff, the dancey stuff, the dreamy stuff and it's the exact sort of reunion album that you love to see.  It sits well with the band's catalogue and only enhances it in the long run.  The only thing I'd complain about is the inclusion of the old Occasional Keepers tune 'If the Ravens Leave', but it's not even like that's a bad song; just well familiar.  The epic title track is probably the highlight here, but honestly, this thing is so good, there's really not a bad or even sub-par song in the bunch.

The Lotus Eaters — No Sense of Sin (1984)

Fantastic Bowie-inspired synth pop.  "New Romantic" the kids used to call it.  I knew of this band because Mike Dempsey, who played bass on the first Cure album, is present here (though not the main creative force).  This has one of the all-time great (now unfortunately lost) classic new wave singles on it with 'The First Picture of You.'  Pete Coyle's longing tenor croon paints a gorgeous picture of celebrating the moment while you're in it.  There's a handful of these slightly melancholy, transcendent 80's pop songs and I officially nominate 'First Picture of You' into the cannon.  Just perfect.  The rest of the album follows suit with long keyboard harmonies and subtle guitar arpeggios and hooks — just gigantic pop hooks.  Cherry Red has done this album justice with a wealth of bonus tracks that gathers up the band's entire 80's discography on one disc.  Fantastic music.

~Austin

What's New?: 7.3.2013

Continuing on. . . and on. . . and on. . .

The Appleseed Cast — Illumination Ritual (2013)

It's a strange time to be an Appleseed Cast fan. Their dreamy cascades of cymbals and guitars is still present on their first album in four years, but the only original member left is singer and creative center Chris Crisci. Aaron Pillar and John Momberg's respective farewells are now relegated to the stopgap Middle States EP from two years ago. And while Aaron's inimitable guitar style is definitely missed on Illumination Ritual (things definitely take a turn in a more angular direction), this album still manages to sound like the Appleseed Cast. Except, they're really fast now. There is a very much an upswing in tempos this time around and that's a catch twenty-two, because while the songs definitely have riffs and hooks that are great, it almost feels like the whole album is just one long song, because the tempos don't vary much. Still, it sounds an awful lot like Mare Vitalis, and that's fantastic because that's not only an album I love, it's also the one where I feel like they were doing great pop songs when you stripped away all the effects and noise. So, here: 'Cathedral Rings.' It's an emotionally charged, dynamic, anthemic, fist-pumping, rock-and-fucken-rolling masterpiece. Probably their best all around song since the Peregrine days, at very least. Side two of the album contains a very epic Low Level Owl-esque two-fer that was probably intended to be the big centerpiece of the album with 'Barrier Islands (Do We Remain?)' morphing into 'North Star Ordination.' It's definitely a highlight, in a classic-sounding Appleseed sort of way. Throw in a couple instrumentals, and we're done. Overall, it's Chris delivering a by-the-numbers Appleseed Cast record and trying to give us (the fans) what he thinks we want. Little does he know, I will like whatever he does as long as he's leading with his heart and not trying to rehash past glories. I'm extra critical of this stuff because they are one of the best things currently going. And besides, as the proper full length follow up to Sagarmatha, it was going to be hard to top that one. I just wish Aaron's departure from the band wasn't so glossed over.

Bob Dylan — Dylan (1970)

Generally regarded as Bob's "worst" album, it's also generally accepted that he was trying to piss off fans when he recorded it. It was mostly recorded during the same sessions for Self Potrait and, just like that album has an unmerited bad reputation, after fully digesting this one, I have to say it falls into the same category (some of the album consists of outtakes from the unimpeachable classic New Morning). There are no originals here, but the things Bob does with tunes like 'Mr. Bojangles' and 'Big Yellow Taxi' are fascinating and ultimately they feel less like someone making fun of them and more like someone just screwing around. There's a very nice folk pop sheen to the production and I have a really hard time not playing the whole album whenever I listen to it. Certainly not his best work, but this is just an alright album, where he would commit near atrocities in the future.

Atoms for Peace — Default (2013)

B-side action from one of the year's most pleasant surprises. The a-side was definitely a grower for me and it appears here in an instrumental version alongside the non-album doodle of a song 'What the Eyeballs Did.' It's one of the AfP songs where Flea's bass playing is front and center and it's all the better for it. Nice to hear more from these guys.

Cocteau Twins — Otherness (1995)

I've had this guy digitally for many years, but it's always nice to find hard copies of these sorts of things. It's essentially a remix EP wherein Robin and Liz try to make some older songs kind of ambient dancey. Not a total success, but not a waste of time either. The highlight is the super blissed out, very nearly psychedelic, drumless retake of 'Cherry Coloured Funk.' Well done on that one, you lot.

Morrissey — The HMV/Parlophone Singles '88-'95 (late 80's/early 90's)

A lot of this was not new to me. In fact, about 90% of it wasn't. But, for a few of these b-sides (and even a couple of the a-sides), they appeared on the British singles and nothing else. So, they were out of print for many years until these things came out.  But forget it: those were too expensive and way too bulky for me.  This guy squeezed out a few years ago under my radar and it's those two sets slimmed down to three CDs: the perfect package.  Way too many Moz classics (and just plain old musical classics) to start naming names, so I'll just run down the list of things I liked that I didn't already know.  'Journalists Who Lie' is about as awesome as it can get when you look at the title and then consider that the song could be described as "cartoon rockabilly."  'Pregnant for the Last Time' is more fake rockabilly fun, while tunes like 'You've Had Her' and 'I'd Love To' are the sort of cascading introspective mini-epics that find Steve dropping the rockstar façade and singing these full on heartachingly genuine masterpieces.  I guess I understand why he's hidden them away and basically assigned them to obscurity status in his own catalogue.  I mean I do but I don't.  The frustration of being a Morrissey fan.  Top tunes, whatever the case.

Morrissey — Beethoven Was Deaf (1993)

Morrissey's best band rocking out for a bunch of Frenchies. There's a sense to this live album that it was meant to be a big grand assertion of dominance —and, in retrospect, it most certainly is— but, at the time it was virtually ignored in the shadow of the near smear campaign being launched at Steve in the British music press (not to mention: this album has still never been released in America). Oh well, by the wayside went definitive versions of essential Moz classics (the rockabilly-ed up 'Sister I'm A Poet', the flawlessly rambunctious run through of 'The Loop' and the version of 'Jack the Ripper' that's so good it makes the studio version seem like a sick joke).  Of course, all of the then-Moz calling cards are present as well, but it's the diversity and the tension in the setlist that really makes this one a complete and total classic.  It's an album that I've known for several years, but it feels like such a relief to finally have a hard copy of my own.  Where in later years, Morrissey released live things for fan benefit only, this one actually feels like it belongs in the strange saga of Morrissey's creative trajectory.  And, of course, it doesn't hurt that they play a totally kickass version of my favorite Morrissey song.

Q and Not U — Different Damage (2002)

Totally great DC indie guys.  Noisy and political and shouty and spastic and inexplicably funky — it's only now, a decade later, that I can really understand that they were one of the first of the new wave revival that hit hard in the early 2000's.  This was the band's second album (and a lot of folks would say their best) and it's just a wonderfully angry and varied record.  The first track is probably the highlight, but side two of the album plays less like a group of songs and more like a sidelong suite whose whole is greater than the sum of its parts.  It's definitely an album that sounds best when you take the whole thing in at once.  It's too bad they quit after their poppier follow up album; truly a band that had something different to say.

R.E.M. — Strange Currencies (1995)

This Monster single had absolutely no chance at the charts, but it still managed to crack the top 40.  It's definitely one of the more conventional R.E.M. moments on that album.  But the real reason this single was released was so the band could get some live recordings for the one-off show they did in support of Automatic for the People out there (it's a now nearly forgotten piece of trivia that the band did not tour in support of their most famous album).  There's a super juicy rockin' version of 'Drive', a silly Iggy Pop cover  (where Michael inexplicably declares after the final chorus, "Dracula was pretty good, but it wasn't quite as gory and violent as they said it would be") and that finally morphs into a seriously rocked up 'Radio Free Europe.'  Well worth hearing, even if only for historical purposes (the music just so happens to be great as well).  Would love to see the entire show released.

Heat waves suck.

~Austin

What's New?: 8.20.2012

Still playing that good old catch up game. Shout to Grassroots, once again, for a good chunk of this update. . .

Kenny Burrell —Kenny Burrell and John Coltrane (1958)

Can't believe I didn't already have this one.  I've certainly had the chance to buy it on numerous previous occasions.  Trane didn't record with guitarists very often, so it's a unique one in terms of his catalogue.  And it's great to hear Kenny Burrell inspiring him to dig down and get soulful with his playing.  The classic rhythm team of Paul Chambers (bass) and the always amazing Jimmy Cobb (drums) is assisted here by the great Tommy Flanagan on piano, so the whole thing is just a meeting of giants.  The ballad 'Why Was I Born?' is a duet between Kenny and John and it's a good one.  The super easy and groovin' Tommy Flanagan original 'Big Paul' closes the album on a downright badass note (check out Trane's long solo — it's almost like he's laughing at how good Jimmy Cobb is!).  When Kenny finally enters for his solo nearly eight minutes in, the groove has hit simmer and it's just a masterpiece.  The whole thing is just about as classic as it can get for this style and time period.  Really excellent music.  This generous person put the entire album up to stream, check it out.

Kenny Burrell — Blue Lights Volume One (1958)

Recorded about a month after the above album, this was definitely a Blue Note affair.  Amongst the band here are definitely players that were known as Blue Note artists: Art Blakey on drums, Duke Jordan on piano and the one and only (and criminally underrated) Tina Brooks on tenor.  As the title implies, this is a heavily bluesy affair, which makes sense, as it's essentially a jam session caught on tape.  An interesting tune here is the long, album closing workout 'I Never Knew.'  It's of note because Kenny had just recorded it on the album discussed above in a much more soul jazz groove.  The version here swings a lot harder and it's interesting to hear what Tina Brooks (one of Trane's forgotten peers) does with his solo.  Good stuff.  The Andy Warhol cover art is pretty "groovy man." 

R.E.M. — Eponymous (1980's)

Darn good hits collection.  It's got all the reasons why R.E.M. got so popular in the 80's: 'So. Central Rain', 'Fall on Me', 'The One I Love' and 'It's the End of the World as We Know it.'  The draw here for me as a huge fan are the four rarities: the even more garagey original recording of 'Radio Free Europe', the secondary take on 'Gardening at Night' where Michael Stipe nearly shouts his vocals, the "Mutual Drum Horn Mix" of 'Finest Worksong' that indeed adds a big cheesy 80's horn section and the otherwise unissued (at least at that point) 'Romance.'  Good stuff.  I can't imagine how overwhelmed I would be if this was my first time hearing some of these songs.

Chris Isaak — Silvertone (1985)

Very easy at this point to just write Chris Isaak off as a one hit wonder.  A borderline crooner that managed to make a career out of one incredible song.  But what a lot of us snobs like to ignore is that the guy had been recording since the mid-80's.  And yeah, those first couple albums?  Totally great the whole way through.  Yeah, he sounds like Roy Orbison and Elvis vocally, but the musical backing here is a jangly, understated 80's update of the best aspects of those two icons.  There's an incredible melodrama present, especially on this first album, that some people might hear as cheesy, but that I hear as an instance of how the infamous 80's production sheen could actually make someone sound entirely unique, despite clear as day influences.  'Back on Your Side' and 'Another Idea' are just a magically jangly numbers that somehow manage to validly conjure up images of Roy Orbison in equal measure with the Smiths.  'Funeral in the Rain' even manages to sound vaguely Cure-ish (!), while 'Gone Ridin' seems like the jumping off point for Morrissey's excursions into faux-rockabilly.  I can't even convey how much butt this album kicks.  Seriously, play 'Dancin' for anybody who doubts you when you say you like Chris Isaak (because, after hearing this album, you should).  Beneath it all, there is a base of that good ol' twang, which keeps it all grounded and human.  The pedal steel-laden ballad 'Western Stars' should be a good indicator of this.  Man, it's good.

Chris Isaak — Chris Isaak (1987)

Basically just a reassertion of the first album.  There's nothing here that stands out like anything from the first album, but it hangs together a lot stronger in the bigger picture.  It's a bit darker in overall mood, highlighted by the single 'Blue Hotel.'  'Waiting for the Rain to Fall', despite being the album closer, is actually my favorite tune here.  But the whole thing's great.  It's perhaps a little less rockabilly-revival-ish than the first album is (if Silvertone can even have that tag thrown at it), but in place of that, it's even more jangly.  Which is just a complete win for me.  Check out 'Lie to Me' while you're at it.  That's a good one too.  Again: the whole album is strong.  I've gotten into Chris Isaak previously, but I ditched him because of my own snobby inhibitions.  This time, I can see clearly.

Kenny Burrell — Blues-The Common Ground (1968)

Kenny Burrell in his Verve prime hitting a perhaps predictable note.  Horn charts and arrangements by Don Sebesky are definitely in the Creed Taylor mold of the time, so the band is not really allowed to let loose very much here.  Kenny's up front the entire time and his solos are pretty much as good as always, it's just those big horn blasts mid solo that rub me the wrong way. A surprise cover of Buffalo Springfield's 'Everydays' kicks off the album, while the acid jazz of 'Burning Spear' gets funky funky.  While elsewhere, Kenny explores his thoughtful side on the solo 'Were You There?' and the closing ballad 'Sausalito Nights.'  It's not a total wash, as Kenny plays with his heart the entire time, but those larger arrangements do begin to grate after a while.

Kenny Burrell — Blue Bash! (1963)

Kenny and the godfather of soul jazz himself (that would be one very incredible Mr. Jimmy Smith on organ) getting down to it and meaning it.  It's all quartets here, with Kenny and Jimmy taking the leads.  Plenty of soulful licks here; just check out 'Travelin' for some serious business.  The boys' take on 'Fever' is almost laughably good, while the ballad 'Easy Living' is as bluesy and beautiful as they come.  The album closing rendition of 'Kenny's Sound' is in favorable contrast to the version recorded for Kenny's Blue Note session the same year, just on the basis of the sparseness of this recording.  The bonus tracks on this 1999 reissue present the majority of the album in alternate takes, nearly doubling the running time (the highlight of which is the considerably longer take on 'Easy Living').  Early soul jazz at its best.  Hard to go wrong here.

~Austin

R.E.M. in a nutshell.

I've dug back into R.E.M. after years of having a few of their early albums and honestly just neglecting them. As a fan of 8o's post-punk and indie guitar rock, it's very easy to overlook R.E.M. as one of the defining American bands of the 8o's for one simple reason: they're enormously popular. They started indie, went major, got huge, got bloated and got boring. But they've always at least remained interesting (most recently because of the circumstances and not the music; which is always unfortunate). After a conversation recently with a friend, I realized, I should say something about one of the best bands to ever do it. I will try to keep this somewhat contained to within a reasonable length, but I make no promises. Sticking to official albums and stopping where I feel like they really did lose it, here's R.E.M. in a nutshell. . .

Chronic Town (1981)


As good as they were later on, I still find that this five song EP is the most enduring and just downright best thing they've ever done. It's like a post-punk band trying to play like the Byrds. Too nervous and jittery to be able to sound so polished, but with enough (alluringly simple) melodic ideas to pull it off. All Music has famously remarked that R.E.M. marked the point where post-punk officially became 'alternative rock' and while I would agree, for this EP and its follow up, they were still playing firmly in the post-punk mindset. The guitars may jangle more than their other post-punk peers, but Mitch Easter's stark production and Bill Berry's bare bones drumming makes them sound essentially like a slightly more polished garage band. Highlight: 'Carnival of Sorts (Box Cars)' wherein Michael Stipe's mumbly jumbly vocals seem fully formed already as he babbles on about "Chronic town, poster torn, weeping wheel" and then all of a sudden explodes into, "BOX CARS ARE TURNING OUT OF TOWN. BOX CARS." Still one of the band's definitive songs.

Murmur (1983)


Where Chronic Town's presentation was sparse and no-nonsense, Murmur's production is still clear and jangly, but it sounds like maybe there is extra reverb on everything. Also, the songs are a bit more obtuse in their structure. Besides the big riff and glorious chorus of 'Radio Free Europe', most of the songs avoid traditional structure altogether. A song like 'Laughing' is just flat out sparse brilliance, as its lyrics mean absolutely nothing, but its riff is undeniable. In the end, the band never made another album quite like how Murmur sounds. It's almost ambient jangle at some points. Totally unique sound and vision. Highlight: 'We Walk' probably because it has one of the only coherent sets of lyrics on the album.

Reckoning (1984)


I wouldn't have used the word 'artsy' to describe Murmur in its own review because it only seems like it is when you consider what came immediately before it and immediately after it. Because when an album like Reckoning comes along and still sounds revolutionary despite its staunchly conservative and classicist sound, everything comes into focus. There are some days I'd call this my favorite R.E.M. album. Just based on pure songwriting, this one knocks it out of the park within the first four tracks. Peter Buck famously remarked later on that he thinks side one of this album is the best single side of a record that the band ever did. I can't say I blame him. The riffs throughout are layered and evolving, the choruses are simple and effective as hell and the sequencing and consistency of the whole thing is just tops. Truly, this sounds less like a band forcing themselves into something and more like a band trying to keep up with the creativity that was obviously bubbling over. One of the most definitive jangle albums of all time. Highlight: Still 'So. Central Rain', despite maybe slight overplayage throughout the years. It's just one of those warm, fuzzy pop singles that became popular on sheer quality. The song's stature —and the rest of the album's, for that matter— has only grown with time.

Fables of the Reconstruction (1985)


You know something's wrong when Peter Buck labors away at that nearly mathematical riff right off the bat on 'Feeling Gravity's Pull.' And make no bones about it: that song (the album's opener, no less) was the darkest and just downright bleakest thing the band had done at the time. Produced by Joe Boyd, recorded in England and bringing in some dreary string augmentations, this is R.E.M.'s slowest, darkest and just all around best album in my ears. Always has been, in fact. I like the sludgy riffs. I like the gloom. I love the slowness of the whole thing. At this point, the band could probably have farted in unison and it would've come out as a melodic idea for a glorious riff. But, when I say this album is dark and gloomy, recontextualize that for an R.E.M. setting. While you still get some pretty bleak-sounding stuff like 'Maps and Legends' and 'Kohoutek' (an extremely underrated song), it's all filtered through the band's modern folk rock slant, so it's not like the thing is competing with Joy Division or anything (well, maybe if PB had played that riff on 'Feeling Gravity's Pull' a little more sloppily and with some feedback — you get the idea). 'Driver 8' is just one of those magnificent R.E.M. jangle pop gems that sounds incredible every time I hear it. Just top stuff, man. Joe Boyd's production is a match made in heaven for this material because it's longing and melancholy, while not forgetting the bigger picture fact that this is still a guitar band trying to make a pop record. Really wonderful stuff. I often go back to it and marvel at just how damn good it is. Because it's that good. Highlight: 'Feeling Gravity's Pull' with its labyrinthine riff and weird —even for Michael Stipe at this point— surreal lyrics. Stone cold is how classic it is.

Lifes Rich Pageant (1986)


In which, the formula for the R.E.M. album, as we now know it, is formed. It rocks out a little ('Begin the Begin'), it gets folky ('Swan Swan H') and, most of all, it's got a few downright resonatingly great jangle pop tunes ('Fall on Me' and the greatly underrated political track 'Cuyahoga'). It's fine enough, I suppose. But I guess it's the first album where I find that they got a bit complacent and comfortable for the first time. A comfortable R.E.M. is not necessarily a bad thing, but it's also not very interesting most of the time. Don't get me wrong, a three-and-a-half for an 80's R.E.M. album is like a twelve hundred for any other band. But it just feels for the first time like they didn't give it their all. And the album suffers because of that. Highlight: 'Cuyahoga' because of the g'damm chorus vocals. Just heaven, they are.

Document (1987)


Different approach to production, different sounds, generally strong results. 'Finest Worksong' is an awesome, and quite brilliant, opening song. I'm almost positive I'd hate it if it were anywhere else in the album sequence. But it just opens things up, rocking out, big dated mid-80's drum sound; great stuff. And then it just awesomely jangles away like it's trying to be Reckoning or something. Can I just say that, removed from overplayage and all the cultural baggage bullshit that it picked up, I think 'It's the End of the World as We Know It (And I Feel Fine)' is really a rather fantastic song? Would that make me a bad person at this point? Because structurally, melodically, rhythmically, it's pretty fucking sharp. The harmonies, the riffs. Sheesh. I can only imagine what it was like being a teenager in 1987 and hearing that for the first time. I was only six, so as much as I would like to pretend I was that hip, all I have is a hindsight appreciation. Call it overplayed and old by this point, but what a fucking monument, in the bigger picture. I nominate it for the esteemed title of "The indie rock 'Free Bird'." And then, just guess what the next fucking song is. I dare you. Fucking guess, man. Only 'The One I Love.' One of the greatest pop singles in history followed by it's little brother. The rest of the album is good and it ends with the awesome fan favorite 'Oddfellows Local 151' but what else can you say, honestly? It's got no less than two of the best songs ever written on it. What else do you want? Highlight: 'The One I Love.' Just because.

Green (1988)


I know this is a line in the sand for just about everyone familiar with the band. R.E.M. got really popular off of Document and its two incredible singles, so off to a major record label they went and all hell broke loose. As it usually does, the hype surrounding the ethics of such a thing overshadowed the actual music. And, in this case, they just maintained. Didn't get better, didn't get worse; just made the same old class act, left field pop that they had been doing for a while. If anything, it was actually a step towards a little more willfully inaccessible music. 'Pop Song 89' is a silly goof, but catchy as heck. 'Get Up' is slow and sludgy. 'You Are Everything' is quiet and folky. 'Stand' is another amazing pop single whose popularity overshadows its actual quality. And then, the next three songs are arguably the best hat trick that the band ever pulled off. 'World Leader Pretend' is an incredible political allegory set to a dark, lush folk rock backing. It's one of the best things the band ever did (and there's a reason that it's the only song that had its lyrics printed on the album sleeve). 'The Wrong Child' is just about the most convincing thing they ever did to sound like a real folk band (and it's surprisingly affecting). And then 'Orange Crush' is just a textbook example of an anthemic single gone completely right. One of the defining albums of "alternative" rock for a reason. Maybe not their overall best, but I think I may go back to it more than just about anything else in their catalogue. Highlight: 'World Leader Pretend' because it's simultaneously pompous and catchy. Just excellent music.

Out of Time (1991)


God, I hate 'Radio Song.' I like the message, but the actual execution is pee-pee poor. Overproduced, contrived funk rock schlock. And, as a whole, this album is overproduced in the classic sense. Keyboards where they don't need to be, big boombastic drum sounds and just that all around stock early 90's big budget sheen. But the songs are good, for the most part. I like 'Shiny Happy People' just because I probably have a secret crush on Kate Pierson that I haven't fully addressed yet — but I do understand why somebody wouldn't like it. 'Losing My Religion' is, again, one of those great jangly R.E.M. singles that just ballooned out of control and got too popular for its own good. Elsewhere, 'Near Wild Heaven' is one of the rare non-Michael Stipe sung R.E.M. songs that is genuinely good. 'Belong' is a strangely catchy half-spoken thing and 'Texarcana' sounds straight out off the Reckoning demo reel (and, again, isn't sung by Stipe). Overall, a bit more folky and "weird" than you'd expect if you only knew the singles, but a darn solid effort, especially amongst the sometimes hindering production. Highlight: (surprisingly?) the two numbers where Mike Mills takes lead vocals ('Near Wild Heaven' and 'Texarcana').

Automatic for the People (1992)


I really like that the band's biggest album —the one that is, at once, their most acoustic-based, most pleasing to both their old fans and their new fans and probably the darkest of their major label albums— starts off with Michael Stipe, nearly whispering atop a Peter Buck acoustic strum, "Hey kids, rock and roll. Nobody tells you where to go." Fuggin' brilliant, buddy. Sure, 'Everybody Hurts' was so popular that even your grandparents probably know it, but take away the popularity and, again, you get a really affecting and genuine pop single. I could go without ever hearing it again, but to my eleven year old brain, seeing the video on MTV and —especially considering that I wasn't even into that sort of music— actually feeling something was pretty relevant. It's a first for R.E.M. because they had never done anything close to a power ballad at all before this, so I guess consider it significant just because of that. The rest of the album, like I said, is pretty dark and melancholy. And Michael Stipe swears a lot for some reason (seriously, what's up with that?). The other single, 'Man on the Moon,' is one of my favorite R.E.M. songs just because it captures that amazingly resonating classic pop single mood so well. The whole album is great, honestly. But don't judge it by the singles. Because you're totally wrong (even though the singles are pretty good), if you're doing that. Highlight: the sludgy rocker 'Ignoreland' that recalls Document, or maybe even Fables. It sounds like nothing else on the album and is all the more awesome for it.

Monster (1994)


Does this album suck? Or is it just R.E.M. finally lightening up and having fun, therefore making a genuinely good album? I don't know. Sure, a third of the songs are actually pretty stupid and contrived, but am I a bad person because. . . I. . . uhm. . . kind of like it? Whatever the case may be, I can now hear this as what I've shaped it to be in my own little twisted musical world: it's R.E.M.'s glam album. With all these crunchy guitar tones and catchy hooks, how could I hear it as anything else? Disposable as hell, but does it sound awesome when it's playing? You betcha. And besides, starting an album with 'What's the Frequency, Kenneth?' and 'Crush With Eyeliner' does not hurt at all. I remember reading an interview with Michael Stipe (around 2003/2004) where he described this album as "a big fat, wah-wah pedal that we needed to get out of our system." And that makes sense, I guess. R.E.M. had never really "rocked out" for an entire album before; just in short bursts. So, why not, right? Highlight: the album closer 'You' which is actually a point where they get genuinely psychedelic. God bless the 90's, right?

New Adventures in Hi-Fi (1996)


Motherfruggit, I don't care: this album kicks butts with no prejudice. A boxer or your grandma get the same treatment: a swift kick in the hiney by some of the band's most original material ever. The problem is: everybody hates on the darn thing because it's rumoured to be the album that made Bill Berry have an aneurism and say, "Hey dudes, I'm a farmer now." But, as a final sendoff for the band's original lineup, they basically made an update of Document or Green. It rocks a little, it folks a little, but mostly, it entertains a lot. Go ahead and deny it, like everybody else in the world. Call it too long, call it boring or whathaveyou. I call it a creative rebirth. The more rockin' Monster sound hasn't gone away, but with the sonic chances they took on that album, they must have picked up a new flair for studio knob-twiddling because the dynamics and layers achieved on this album sound like no other R.E.M. album before it. Honestly, this is the first R.E.M. album that doesn't sound like every song was just recorded live in the studio — irony supreme, as it was notoriously recorded in pieces amongst makeshift studios and soundchecks during the Monster tour. They've finally gotten a handle on how to properly overproduce an album. It's a weird one, too. I mean, seriously, the single was 'E-Bow the Letter.' Good song, sure. But that's one weird thing to try and get into the top 40 (even though, wow at the balls it took to release that as an a-side; the hook is "Aluminum tastes like fear" ferrchrissakes!). Highlight: 'Leave.' Only the longest and best song they ever did. Yeah, it's that good.

Up (1998)


Anutha muthafrugga because, sheesh, I luh this one too. It's infamously the band's first album without Bill Berry. And without one-fourth of their previous being present, they get all produced and smarty pants-sounding. Kind of like "pop art" before Kanye West was a pretentious a-hole about the whole labeling it that thing. 'Airportman' will blow you away. And then somebody will tell you it's an R.E.M. song and you'll need a clean pair of undergarments. And then the next song is 'Lotus.' Due apologies to the fanboys out there, but I'm sorry. Any album that starts with that one-two punch is better than Lifes Rich Pageant. It just is. Deal with it. Sure, the single was the somewhat MOR-minded 'Daysleeper' but even that is a good song within the album's running order. And, really, look at the first six songs. What an awesome bunch of super artsy pop songs. I love this album. And it has a great, uplifting 'overcoming the odds' tone to it that is just refreshing to hear, especially at this point. Highlight: 'Walk Unafraid.' You don't even remember what it sounds like, do you? For shame.
Reveal (2001)



Overproduced as all get out, but it sounds fine while it's playing, I suppose. At times, it almost sounds like they are consciously saying to themselves, "Hey, all those cool, interesting subtle guitar and keyboard layer sounds we awesomely snuck into the last album need to go, but let's keep all the stupid, cheesy guitars and keyboards." As much as I love the fact that they said the name of my hometown on the single, I still can't deny that it's blatantly overproduced. The dynamics from New Adventures and Up are completely gone, in favor of volume compression and that's just disappointing. 'Disappear' is a good song, I guess. I just hear layers and layers of unnecessities. Imagine that song on Fables and you see my point. Again, it's fine while it's playing, but there's very little substance. Highlight: 'I'll Take the Rain' because it sounds as depressed by this album's underwhelming quality as I am. At least it sounds genuine next to everything else here — all of which ends up sounding very cartoony. In a bad way.

And then, Around the Sun was even worse and, after that, I cared no longer. I guess they've gotten "better" in recent years, but I just can't bring myself to listen to another R.E.M. album that's as compressed and lifeless sounding as their last few. Up, as maligned as it became, at least sounded interesting from a production standpoint. Like the songs or not, at least they sounded cool on headphones in a dark room.

And I guess that's what I will always love about R.E.M. (at their best) in the end: they always make you feel like you're not alone. No matter how bad you feel, you can pick up Reckoning or Green and forget about your troubles for fourty minutes or so and just immerse yourself in some heartfelt expression that may be emotional, but in a completely true way that —and this is the whole point— is entirely life-affirming.

~Austin