Tag Archives: R.E.M.

The No Ones • The Great Lost No Ones Album [CD, LP]

I bet when you’re Peter Buck you don’t have to care too much about getting publicity on your new album. I mean, he was the guitarist in R.E.M. He knows his album’s gonna reach the people, one way or another. So it’s the reviewer’s job to know that it’s already come out and get on top of things. And, for Scott McCaughey, regardless of whether you’re known as the guy who started Young Fresh Fellows or The Minus Five, or that you were a sideman for R.E.M. and a member of Robyn Hitchcock‘s Venus 3, the word that you’ve started yet another band – called THE NO ONES – with the guy from R.E.M. will get around. Even during a worldwide coronavirus shut down (Volume 3, anyone?). So here we are: it’s already June 2020 and I’m just now getting around to reviewing The Great Lost No Ones Album, which was released in March. Had you heard about it? I had, but I clearly neglected my rock critic duties (hey, I don’t exactly get paid for this!) by waiting so long to tell you what I think about it. It’s almost as if I was trying to do my part, not review it, and let the album completely live up to its name.

The No Ones first got together as early as 2017 and are Buck, McCaughey (as in, the real McCaughey), Frode Strømstad and Arne Kjelsrud Mathisen, and they’ve recorded a powerful pure pop elpee that hearkens back to the days of old when practically all it took to put out a rock album was two guitars, bass, drums and some meaty-ass hooks. The Great Lost No Ones Album has all of that, plus the support of a mighty indie label and a captive (read: largely still home-based) audience. McCaughey’s the lead singer and as you’d expect if you’ve followed him for the last 30+ years, he has a great voice for this kind of music. What might make or break this great No Ones album for you is the degree to which it sounds like an R.E.M. record. (It doesn’t sound like R.E.M.) Those finding this album due to Buck’s membership in that band should consider that he was also a member of The Minus Five and this album is much closer to that vibe. For those of us who have tuned in to McCaughey’s projects since he fronted Seattle’s legendary (Young Fresh) Fellows, this may be the best record since Topsy Turvy. (My review on that classic ’80s indie album is right here.) I really like the single “Straight Into the Bridge” and “Dream Something Else” – the guitars on these songs are rippin’ (not sure who’s playing which parts) and sure to invite repeated listening sessions, whether in your car, your music room or your very own underground lair. Other songs do something similar, like “Sweet Home Mississippi,” “Clementine” or “Gone.” Really, you couldn’t ask for a much more engaging record to get into these days.

The Great Lost No Ones Album is available on both CD and LP, and vinyl lovers will thrill to the killer colored vinyl that’s available on initial orders. Not only is it a real beautiful yellow and purple 12″, but it features unique artwork and comes with a bonus 7″ (same colors in reverse) featuring two songs not on the album (or the CD). That vinyl version may or may not be available at this point – after all, I’m two months behind in reviewing this baby! – so I’d get on over to YepRoc’s web site pronto. I can’t tell you what those bonus tracks sound like (my order hasn’t arrived yet) but I wouldn’t worry. I’m sure they’ll be worthy of extra time on your turntable.

3.5/5 (YepRoc YEP-2718, 2020)

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R.E.M. • In Time: The Best of R.E.M. 1988-2003 [2LP]

It’s easy for us old school R.E.M. fans to dismiss the post-IRS Records era of the band. Those fabled times were unique in our music experience: Band comes out of nowhere – that is, Athens Georgia – and takes over the college radio airwaves, steadily builds a fanbase with their amazing records and compelling yet elusive videos (you had to look pretty hard to find them at first), and eventually signs to a major label. It’s also easy to say, “they were better before they sold out,” but of course, most of us also realize that R.E.M. didn’t actually do that, since their label switch was on their own terms. Still, I definitely prefer the albums up through Document over the Green-and-on elpees. I certainly didn’t stop buying their albums, though, but aside from Automatic for the People, I’d rate the post-1988 albums lower than those before that.

One listen to In Time: The Best of R.E.M. 1988-2003 tells you that Buck/Mills/Stipe(/Berry) & Co. didn’t really lose the plot – they just matured and morphed into a different monster. Their sonic palette got bigger, better, engulfing the scruffy, indie R.E.M. they once were. In this later personae the band gave us epics like “Man on the Moon,” “The Great Beyond” and “Everybody Hurts,” as well as burners like “Bad Day” and the absolutely gorgeous “At My Most Beautiful.” Even the band doesn’t quite know how to sum it all up; Peter Buck wrote the liner notes to each song and he himself is frequently unsure what the songs mean or where they came from. But one thing is sure: R.E.M. weren’t even close to finished having something to say when the ink on the Warner Bros. Records contract had dried.

In Time was first released in 2003, available in a few different formats (including vinyl), but the 2LP version was hard to find. It’s now been reissued by Craft Recordings in a standard double black vinyl version and a blue colored set offered exclusively by Barnes & Noble. The mastering job on this reissue was done well, and it’s nice to have the 18 songs spread over two records. But I do have a minor issue with B&N’s colored vinyl: the transparent blue could’ve been matched better to the color of the blue moon on the cover. It plays and sounds lush, though, so don’t pay too much attention to that part of my critique. The takeaway from this review is that R.E.M. were one of the great American bands of the ‘80s and In Time is the perfect summation of their latter days.

4/5 (Craft Recordings CR00166, 2003/2019)

 

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R.E.M. • Automatic for the People [LP]

It’s already been 25 years since R.E.M. put out their last great album, Automatic for the People. This anniversary sees the release of a few different configurations to choose from (as is the custom these days), including a 3CD/BD deluxe set, a 2CD version and what I’m primarily concerned with here, an all-analog remaster on vinyl. This 180 gram audiophile pressing comes in your basic LP cover (faithful to the original release), with a printed inner sleeve and digital download voucher card. Mastered by industry vet Stephen Marcussen* at Precision Mastering, this vinyl is pretty quiet (as in, in between songs and in quiet moments) and has a very rich sound.

Some of that richness might be attributed to the fact that Automatic was a fairly orchestrated affair, with a handful of tunes bathed in strings arranged by John Paul Jones of Led Zeppelin fame. Another factor is that, by this time in R.E.M.’s career, they were trying out a lot of different styles and arrangements beyond their standard guitar/bass/drums/Stipe archetype. Peter Buck’s often arpeggiated 12-string guitar is typically replaced by more inventive guitar parts, organ and other keyboard pads that make the record a much more moody thing than previous releases. “The Sidewinder Sleeps Tonite” used bits ’n’ bobs of the old pop classic (“The Lion Sleeps Tonight”) to interesting effect – not sampling, more like paraphrasing – though the “deeee dee deee deee” gets a little trying. Meanwhile, “Star Me Kitten” uses the F-word in place of the star in its title and, despite being a cool track with a lush vocal bed, is slightly overshadowed by the version R.E.M. did with writer William S. Burroughs narrating the lyrics. (It appeared on a soundtrack album for The X-Files.) Also present is “Everybody Hurts,” which feels a little syrupy but really works when the drums kick in and the orchestra just goes for it. I think “Man on the Moon” is still one of their greatest songs, and was so well regarded that it was used for the title and soundtrack of the film about comedian Andy Kaufman. In all, R.E.M. achieved something pretty daunting with Automatic for the People; it sold over 18 million copies worldwide, so clearly this was something much bigger than anything Murmur hinted at.

Those going for the 2CD version of Automatic will get a live concert recorded in 1992 at Athens, GA’s 40-Watt Club, the place where R.E.M. cut their teeth. This is substantial, as the band didn’t tour behind the album and this show was their only one of the year. And if you’re plunking down the extra bucks for the deluxe release you’ll also get a CD of demos and a Blu-ray disc with a new Dolby Atmos mix of the album. (Atmos is sorta like surround sound, but with sound coming at you from the ceiling if your system’s wired and hardwared that way; otherwise it will play as a 5.1 surround mix via standard AV surround receivers.)

Though it wasn’t necessarily the album for many of us who discovered the band when they first showed up with 1982’s Chronic Town EP, Automatic for the People was a watershed for R.E.M. It demonstrated that there was much more to this foursome than mumbly vocals and jangly guitars.

* Marcussen mastered the original vinyl, and appears to have done this version, too (though that credit could be a holdover from the artwork for the original album sleeve).

4/5 (Craft Recordings CR00046, 1992/2017)

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