I don't really mind R.E.M., to be honest, but I don't really listen to them either. (Maybe that's why I don't mind them.)

big_dave wrote:On that list, all things considered, Document. Realistically I'd say Reckoning was the last bullshit-free REM album.

Document is a strange one because it is half retarded and half ace, but the good stuff I couldn't really do without.

what he said. I actually like the "rock band" production of Document, given the era.

Document is the last "good" REM album.

Fables almost was, but it wasn't very good. Lot's of over-produced filler.

At the end of '88, R.E.M. were the band I discovered on my own, without them being stuffed down my throat by radio airplay or school mates. This may have been because I grew up outside the U.S.

Almost 20 years later, I will occasionally give Chronic Town a full spin. Otherwise, and very rarely, it's just a song here and there. I completely stopped paying attention to their ongoing work after New Adventures in Hi-Fi, and some of their early 90's records just sit on my shelf untouched.

In some way, and despite my faded interest, R.E.M. are still special to me, but that may only be because they happened to be the first band I found for myself as a teenager, outside of what was considered standard European and U.S. radio bullshit in late 80's Austria.

I could give a list of favorite songs but would be hard pressed to identify a best record. Well, maybe Chronic Town, but I'd have to go back.

Brett Eugene Ralph wrote:None of the above, i.e., none.

REM rivals The Who and The Pixies for the band most consistently overrated by folks with otherwise decent taste.

The only REM song I've ever vaguely enjoyed is "What's the Frequency, Kenneth?"--not bad when blaring over the speakers at the gym, but it might be the testosterone talking.

I was disturbed by the comment in bold. R.E.M. is so overrated that they're underrated. Their sound was all their own...the early stuff is fantastic...unstoppable. What a fun live band during that period, too...not all boring and worthless like they were later. Could it be that R.E.M. turned into uber-boring live band when Stipe lost all his hair?

The Who...The Pixies...both of these bands can eat me. Chronic Town and Murmur...there should be some favorable way in which to eat them.

mr.arrison wrote:

big_dave wrote:On that list, all things considered, Document. Realistically I'd say Reckoning was the last bullshit-free REM album.

Document is a strange one because it is half retarded and half ace, but the good stuff I couldn't really do without.

Fables almost was, but it wasn't very good. Lot's of over-produced filler.

Fables sounds awful, but I love Wendel Gee, Can't Get There and Feeling Gravity's Pull.

Life's Rich Pageant has some corkers too.

capnreverb wrote:The train got derailed aftr Lifes Rich Pageant. I call this and all the previous albums "the mumble years". After this album I think Stipe felt his self importance and it had to be served. Everybody Hurts? Jesus Christ what a bunch of crap.

but everybody hurts was written by bill berry.

I liked Up. I thought it was really, really good - maybe some slack parts, but waaay more adventerous for them than Monster and Hi-Fi. Haven't liked anything they've done since then. For old R.E.M., I don't think you can beat Fables. So, Up and Fables are my favourite records - coincidentally, both albums apparently recorded while the band was thinking of breaking up. R.E.M., stop being happy!

Up was pretty dreadful to me, but I played Airportman over and over for a while.

The last two were pretty despicable, though.

some records seem to get you by the hand and have you follow them into their own little world. Automatic for the People belongs to this particular breed.

Artsy-fartsy lyrics? Yes. But i don't care: i'm Italian, i don't get the words this Michael fella sings: i just listen to the melody, and REM are good with the melody!

R.E.M. is my favorite band. I own all of their albums, except for Around the Sun. The first time I heard that one, I was at TJ Maxx.

New Adventures in Hi-Fi is their best record. By recording at soundchecks and in dressing rooms, they shed most of their aging-band-on-major-label excesses, only to bring them back in full force on the subsequent albums. Bill Berry was at the peak of his game on NAIHF, and I wish I could hear what they'd have done next with him.

Monster, Up, and Reveal each have some good tunes. I might get their next one.