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Alternative & Indie - Released November 18, 2016 | Concord Records, Inc. (UMG Account)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Alternative & Indie - Released November 10, 2017 | Concord Records, Inc. (UMG Account)

Hi-Res Booklet Distinctions Pitchfork: Best New Reissue
There’s a ‘before and after’ Out Of Time in the life of R.E.M. This ‘before’ for Michael Stipe’s band is mainly found on university campuses where the group gained a cult following in the ‘80s… How then did R.E.M. manage to sell 12 million copies of Out Of Time to the world? The answer is that this record was both sublime and austere. An uncompromising album, like the chamber rock such as Nirvana and the Pixies that you’d blast out without caring about pissing off the neighbours in that year of 1992… Always virtuosic, Peter Buck goes from the mandolin to the acoustic guitar with great ease, John Paul Johns from Led Zeppelin sublimely arranges refined chords and Michael Stipe shines with his melancholic and tortured prose with the candor of a man with self-assured belief. Cinemascope ballads prevail, peaking with Everybody Hurts. It must be said, Automatic For The People is not the most easy-flowing album by R.E.M. but it is one of the most beautiful. Released in 2017, this 25th anniversary edition also offers, alongside the remastered album, a live recording from the 40 Watt Club in Athens on the 19th November 1992 with some cover versions like Funtime by Iggy Pop and Love Is All Around by The Troggs. © MD/Qobuz
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Rock - Released October 19, 2018 | Craft Recordings

Like many bands of their era, R.E.M. were no strangers to the BBC Studios. Perhaps they weren't beloved by the BBC's John Peel -- the station's grand patron of underground rock -- but R.E.M. did appear regularly on the BBC, logging their first broadcast in November 1984, when they were nervily plugging their second album, Reckoning. That concert is presented in full on R.E.M. at the BBC, a generous eight-disc box that chronicles all of the band's appearances on the British Broadcasting Company. A quick scan of the dates provides the real revelation of the set: while R.E.M. were college rock titans in America, they didn't crack the British market until 1991, when "Losing My Religion" and its accompanying album, Out of Time, turned the Athens quartet into superstars. R.E.M. scored their second BBC session around the album's release, playing a hushed acoustic set -- one that featured the non-LP "Fretless" and a Mike Mills-sung cover of the Troggs' "Love Is All Around" -- that crystallizes their warm, pastoral phase of the early '90s. The band is next heard in thundering, globe-conquering form in 1995, playing a full 25-song set at Milton Keynes. Fresh from Monster, this is R.E.M. at their loudest, filling arenas with sinewy ease. From there, the band disappeared from the BBC for three years, an eventful period that saw the group getting weird on 1996's New Adventures in Hi-Fi, then parting ways with drummer/songwriter Bill Berry after its supporting tour. Berry opted out after suffering an on-stage brain aneurysm, encouraging Mills, Michael Stipe, and Peter Buck to carry on without him. While the group's commercial fortunes wavered stateside, they turned out to be bigger than ever in the U.K., racking up six Top Ten singles there between 1998 and 2004. Given that success, that's the period when most of the music on R.E.M. at the BBC was recorded, which may seem to be an initial disappointment for fans who tuned out after the departure of Berry, but even a cursory listen to the group's Public Peel Session from 1998, their Glastonbury set from 1999, and their London Radio 2 show from 2004 shows that R.E.M. retained their Monster-era arena rock gestures while moving with a sense of grace and playing with no-nonsense toughness. This may be familiar to the dedicated whose allegiance never wavered, but for those who believed R.E.M. faltered after Berry's departure, R.E.M. at the BBC is a gateway into the band's last act. ~ Stephen Thomas Erlewine
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Alternative & Indie - Released April 19, 2014 | Rhino

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Alternative & Indie - Released May 27, 2016 | Concord Records

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Alternative & Indie - Released April 1, 2016 | Concord Records

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Alternative & Indie - Released November 10, 2017 | Concord Records, Inc. (UMG Account)

Hi-Res Booklet
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Alternative & Indie - Released November 18, 2016 | Concord Records, Inc. (UMG Account)

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Alternative & Indie - Released April 8, 2016 | Concord Records

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Alternative & Indie - Released January 1, 2014 | Concord Records

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Alternative & Indie - Released May 27, 2016 | Concord Records

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Alternative & Indie - Released January 1, 2006 | Capitol Records

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Alternative & Indie - Released January 1, 2014 | Concord Records

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Alternative & Indie - Released May 27, 2016 | Concord Records

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Alternative & Indie - Released April 15, 2016 | Concord Records

Cynics may dismiss R.E.M.'s first-ever live CD as a way to run out their contract, and they may not be wrong. Despite the lack of a full-fledged live album in their catalog -- and some could call R.E.M. Live not quite an album, since it is a two-CD/one-DVD package that documents a concert the group gave at the Point Theatre in Dublin, Ireland, on February 27, 2006, so it's as much a video as an album -- there hasn't exactly been a paucity of official live releases, not with all the home videos, DVDs, and B-sides issued over the years (and this isn't even counting the numerous bootlegs). If there wasn't necessarily a need for a live album, it also is true that R.E.M.'s stock never was lower than it was in 2007, as the band was limping along after Around the Sun, which was not so much a flop as it was merely ignored. So, the band could have conceivably been running down their contract or they could have been in a slump, needing the time that a live set bought them, or perhaps they just wanted to offer a reminder of why everybody cared in the first place, something that R.E.M. Live almost provides. At the very least, R.E.M. Live proves that the group packs a stronger punch live than they do in the studio, as the band gives songs from recent albums muscle they sorely missed on record. They also can sound vital on classic material, such as "Cuyahoga," which retains a fragile beauty here, and they give "I Took Your Name" a mean, menacing vibe. Not that everything clicks here -- as they go to the encore, they get a bit too strident and overblown, while Mike Mills' lead vocal on "(Don't Go Back To) Rockville" turns the song into something a little too slight -- but the band sounds tight and enormous, a perfect example of old pros comfortable in their skin. Now, this won't necessarily be everybody's cup of tea -- in particular, fans of the frenzied early R.E.M. rock & roll will find this too anthemic -- but this big, big sound on R.E.M. Live speaks to the band's core strengths in a way no post-Bill Berry studio album does. ~ Stephen Thomas Erlewine
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Alternative & Indie - Released April 1, 2016 | Concord Records

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Alternative & Indie - Released January 1, 1987 | IRS

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Alternative & Indie - Released January 1, 2011 | Concord Records

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Alternative & Indie - Released November 10, 2017 | Concord Records, Inc. (UMG Account)

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Alternative & Indie - Released May 16, 2014 | Concord Records

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