REM's Fourth Album For Warner. The Record Was Named "Monster". It Came Out In 1994.
After the somehow pastoral textures of “Out Of Time” and “Automatic For The People” (with mandolins and orchestras taking center stage), nobody could have blamed the band if they wanted to rock out a little once more. And that is what they did on their 1994 release. Named “Monster”, it was a return to their basic sound, and one that elicited strong reactions both in the buying public and in critics. One thing is for sure: the album did leave no one indifferent.
Personally, I find the sound a little unimaginative, with the guitar always going “wahh, wahhhh, wahhhhh” and Michael’s voice left intentionally low on the mix and /or completely distorted (“I Took Your Name”). When the record kicks in (with the successful single “What’s The Frequency, Kenneth?”) I am momentarily thrilled, but I quickly become a bit bored until a couple of more subdued performances do roll in. These include the beautiful single “Strange Currencies” and the organ-pumped “Tongue”. The voice is crisp there, and it is easier to focus on the actual message. Continue reading →
"Automatic For The People" By R.E.M. Year Of Release: 1992.
The follow-up to the critically-acclaimed “Out Of Time” (1991), “Automatic For The People” (1992) feels like the perfect successor to the previous offering to me. Now a broader scope of themes is broached, and personal compositions such as “Nightswimming” are turned into wider statements about youth and the passing of time. Mortality is also another recurrent topic, with the songs “Try Not To Breathe” and “Sweetness Follows” treading heavy territory. “Try Not To Breathe” deals with an old man’s resolution to die, based on his will not to be a burden to his family any longer. And “Sweetness Follows” is a song that makes you realize that you don’t have to wait for the end to come in order to bury the hatchet and make peace with any member of your family.
The album also has the highly successful “Everybody Hurts”, with one of the best orchestrated fades of the record. The title is explicit enough, and the song on the whole is just that bit too slow for my liking. But it has “hit” written all over it. The accompanying video was also a clever one, using subtitles that matched and then moved away from the actual lyrics to drive the point home: harming others is human nature in itself. It is not a matter of superiority. Nietzsche used to say that only he who does wrong can do right. I guess he had a point. And so does R.E.M. here. Continue reading →
R.E.M.'s "Out Of Time" Was Issued In 1991 To Strong Reviews And Sales. It Included The Hits "Losing My Religion" & "Shiny Happy People".
“Out Of Time” (1991) was to be R.E.M.’s second release for Warner, and it was also the record that led the band to levels of popularity that surpassed all their expectations. Of course, that also means that (as any band with a serious cult following that makes it to the big time) they were faced with the odious “what-have-you-done-to-us-your-true-fans”. It didn’t certainly help that the disc included “Shiny Happy People”, a song considered one of the stupidest ever by a major band, and that the song was a transatlantic hit.
Leaving aside that composition (and how sickly catchy it is, I must add) the album is characterized by a tremendous world-weariness in terms of lyrics and motifs. Two songs use the expression “the world is collapsing”, and the adjective “hollow” is also featured in different compositions, and repeated as part of choruses. Besides, the one instrumental cut of the album goes by the name of “Endgame”. Continue reading →
A 90s Picture Of R.E.M. Featuring Michael Stipe, Peter Buck, Mike Mills & Bill Berry
We all know how pointless it is, but still we take part of conversations along the lines of “The best band ever was…” or “The best guitarist in history will always be…”. It is pointless, because there is not a parameter that we could agree upon to base the judgment on. Is the best guitarist the one with the best technique? The one with the fastest fingers? The one who plays the best solos? I recall the uproar caused by a list published in Rolling Stone detailing the “100 Best Guitar Players Ever” in which Johnny Ramone was in the Top 20. Some were enraged, and some defended the placement.
Still, I think that we take part of such discussions if only because we feel that championing our best-loved band is a way of bringing new converts in. And if you are over 30, I know that you have taken part of the “What’s the best band of the 80s?” discussion. And chances are, if you didn’t go for U2 you actually went for R.E.M.
Hailing from Athens (Georgia), the band fronted by Michael Stipe has had a career of note. It can be split in three sections. The first was the underground one. It started in 1982 with the release of the “Chronic Town” EP (on Hib-Tone), and the subsequent releases for I.R.S. This stage ended when they signed up with Warner in pursuit of broader international outreach in 1988.
The Earliest Picture Of R.E.M. I Have Ever Come Across
With Warner, they were to get that and become international superstars. The albums “Out Of Time” (1991) and “Automatic For The People” (1992) are indisputably the high points of their tenure at Warner, and the guys were to eventually renew their contract for about 80 million dollars (a record-breaking amount at the time). The year was 1996, and the next year they were to lose their long-standing drummer owing to health complications. Continue reading →
"Closer" Compiles Together Sarah Mc Lachlan's Greatest Hits Up To The Year 2008
This one took a little to sink in, and it didn’t sink in completely. But the bits that managed to do it are ones I now treasure indeed. Sarah Mclachlan is a Canadian artist that began her career in 1988 with the album “Touch”, in which her trademark mixture of folk and pop was already fully manifested. That record included the hit single “Vox”, and that is the one song which starts this 16-track compilation which was first issued in 2008.
I think I don’t have to tell you it is one of the tracks that I truly treasure from it. The other two that I deem as exemplary songs are “Possession” and “Building A Mystery”. Both were quite successful in terms of chart performance – “Building A Mystery” topped the Canadian charts and almost hit the top 10 in the US. For its part, “Possession” garnered a lot of publicity since it dealt with a famous stalker that even filed a lawsuit against McLachlan – he was to eventually commit suicide before the trial started.
Some might find it startling that songs dealing with such negative realities turn out to be such compelling listens – just look at Elvis Costello’s “High Fidelity” or The Police’s “Every Breath You Take”. But when songs like that are successful, I don’t think that means people are “evil”– quite the opposite. It just showcases that “normal” people are naturally attracted to what happens on the other side. The more people who are keen on songs like these, then, the more representative sample we have of people’s saneness. Continue reading →
Billy Ray Cyrus' Second Disc Was Quite Successful, Yet It Could not Match The Sideral Sales Of The Debut
“It Won’t Be The Last” was Billy Ray Cyrus’s second full-length album. It was released in the summer of 1993, shortly after his mega-successful debut had hit the shelves. I regard it as a major step forward. But it is not that the album is miles away from the previous one, it is just that it has gone the (relatively short) distance that would lead to a more balanced listen. The first time around it felt like the ballads and the rockers did not mesh. That problem was to be resolved by “It Won’t Be The Last”. The key word here is “focused”. There is a clear middle ground between ballads and rock numbers (such as the successful single “Words By Heart”), and the flow of the album feels more natural this time around.
The record has 11 tracks, and the first six are a true pleasure. The single “In The Heart Of Woman” was a foolproof way to set the disc in motion, and having it followed by one of the many Don Von Tress songs on offer (“Talk Some”) was the best way to keep the momentum going. Von Tress was to be the primary tunesmith for the album. That was only to be expected – he had penned “Achy Breaky Heart” and “Talk Some” is the best rocker he contributes to this record, in my opinion. The other rock number (“Ain’t Your Dog No More”) feels too overtly like an Achy Break Heart surrogate, and a forced one at that. Continue reading →
Billy Ray Cyrus' Debut Is Titled After The Words Of A Vietnam Veteran Named Sandy Kane
Billy Ray Cyrus’s debut was first issued in 1992, and more than 15 years later it still retains a couple of significant records such as being the top-ranking album by a country male performer, and (most notably) the best selling debut album from a male artist – more than 20,000,000 copies have been sold worldwide. Of course, it is the album that has “Achy Breaky Heart” – for my take on the song and the impact it had on Billy’s career I direct you to the general introduction I posted yesterday. Three more singles were drawn from “Some Gave All”, and they all did pretty well on the charts – “Could’ve Been Me” hit number 2, actually. The other two singles were “She’s Not Cryin’ Anymore” and “Wher’m I Gonna Live” (they charted at #6 and #23 respectively).
Before being signed up, the consensus was that Billy was too much of a rocker for Nashville and too much of a country performer for LA. Leaving aside the monster hit of the record, that is something which comes across when you listen to the album. The songs are either full-on country (the vast majority of compositions) or unbridled rock numbers. Personally, I feel these rock cuts are fantastic, and they are the ones that stick in my mind after listening to the CD. I am surprised that “Never Thought That I’d Fall In Love With You” was not issued as a single – Mercury probably though that issuing three harder-rocking compositions could be counterproductive. The fact is that the song has a great guitar part throughout, and a drum track that shifts from accompanying to leading in a snap, then reverts itself again. I like the song as much as the achy breaky one, and the fact it was never overplayed is just a big plus. Continue reading →
Billy Ray Cyrus Performing During The "Achy Breaky Heart" Days
Success is not as simple or charming as it seems. Not necessarily a phenomenal bout of early success will mean that it is going to be a smooth ride from that point onwards. And I am sure few know that as well as Billy Ray Cyrus.
To the general public, he is always going to be associated with his monster hit from 1992, “Achy Breaky Heart”. As it is (very accurately) said elsewhere, it was to be the song that would make him and break him. The song must have been one of the most played tunes of the 90s. In South America, it was still being played like the first day well into 1995. And in the States, it caused a true mania that included an “Achy Breaky Dance” – the first time such a thing had happened with a country song. Continue reading →
Richard Thompson's "Mock Tudor" Was First Issued In 1999. It is Split In Three Parts That Chronicle Life In The Suburbs All Through The 20th Century.
Mock Tudor was Richard Thompson’s final album under his Capitol Records’ contract. It was released in 1999, and it was the one album of the decade not produced by Mitchell Froom, the man who is known for his glossy approach to record-making. That is always a recurrent point when the album is discussed. The fact remains that Thompson is a gritty performer, and a rawer approach for capturing him in action always works best.
That is exemplified by the first three tracks, two of which were issued as singles (the polka “Cooksferry Queen” and “Bathsheba Smiles”), and that stand as very fine vignettes about outlaws and people who walk the line. “Cooksferry Queen” paints the picture of an outright ruffian that is transfixed by love, putting himself at the mercy of the other – as Yasu, the leader of the band Black Stones (or “Blast”) from the anime “Nana” used to say, those who once laughed at love will cry because of it in the end.
And “Batsheba Smiles” is a very pointed portrait of a woman akin to Coleridge’s Christabel, IE the kind of woman that is always there for everybody but never there for any person in particular. The chorus of the song is specially powerful, with the “Do you close your eyes to see miracles/Do you raise your face to kiss angels/Do you float on air to hear oracles” section showcasing the effects such a person has on others, and how initial admiration turns into bitterness very quickly indeed. Continue reading →
Nonsuch is a quintessential XTC album in all the good and bad aspects. It is an elegant and refined collection that engages our brains and lifts shadows off our dreams (IE the good aspects), and it is also an album that fared abysmally when released (IE the bad aspect). The good aspects are a merit of the band, and the bad aspect that was mentioned is attributable to the buying public and its limited sight. What makes it all the more aggravating is that the album is nothing short of masterful, and its mastery is nothing short of awe-inspiring. John Alroy cites Andy’s poetic skills, and it is hard to disagree with that. But it must be mentioned that Colin does not necessarily lag behind here – alright, a song like “The Smartest Monkey” could do with a better lyric, but the rest are up there with his best work: “My Bird Performs” is a great “happy with my lot” song, and “Bungalow” is amazing in the way it grows. While my favorite songs of his are the ones found within “Oranges & Lemons“, you can count Nonsuch as the second best.
Andy’s best moments here include “Rook” (a song he has defined as his most personal ever), the gorgeous “Wrapped In Grey” (a fitting epitaph for the band in hindsight) and “Then She Appeared”, a composition that employ an alliterative title to excellent effect.
The album opens with the MTV-popular “The Ballad Of Peter Pumpkinhead”, a song that some of you might also be familiar with since it was covered by the Crash Test Dummies for the movie “Dumb & Dumber”. They did it satisfactorily enough, and in case you are yet to sample XTC’s version here is the video:
Besides, the CD includes the mildly-successful “Dear Madam Barnum” (yet another character sketch, and yet another compelling one) and “The Disappointed” (which was chosen as a single). “The Disappointed” in particular is a very refined song, and if the album did not include “Wrapped In Grey” it would be the record’s definitive lyrical high point.
The album’s closer is “Books Are Burning”. The song is not necessarily hailed as one of Andy’s best moments on record. I think the problem arises from the stellar company that it has in Nonsuch, and from the somehow plain sentiment it conveys – “books are burning/and you know where they burn books people are next”. Personally, I find it a good idea to paint with more colors than one. A song like “The Disappointed” is great, but if you were to apply the same approach time after time it would end up being grating. A direct outlook is more thought-provoking than the long way around when it comes to most people, and I am sure Andy knew that. Continue reading →
