R.e.m. Live From London

Unlike its companion, Complete Rarities: IRS 1982-1987, the music collected on the 2014 digital-only Complete Warner Bros. Rarities 1988-2011 hasn't been anthologized often. Bits and pieces have been rounded up in singles boxes, and there was a "Rarities and B-sides" bonus disc added to the 2003 compilation In Time: The Best of R.E.M. 1988-2003, but there was no Warner-era equivalent of Dead Letter Office, and the expanded editions of the albums often skimped on bonus tracks. So this mammoth collection – 131 tracks, all instrumentals, alternate, and singles, mixes, covers, and live tracks that never appeared on albums – is noteworthy for providing a service for dedicated fans who nevertheless stopped buying all those multi-part CD singles somewhere around New Adventures in Hi-Fi or Up. The eagle-eyed will notice there are a few songs missing – usually, these are alternate versions from the early '90s – but there are also a couple of live cover versions M.I.A., along with instrumental B-sides from Automatic for the People – but the sheer heft of the set guarantees that almost all will take its title claim of "Complete" as factual; it's close enough to complete for most intents and purposes.

Unlike its companion, Complete Rarities: IRS 1982-1987, the music collected on the 2014 digital-only Complete Warner Bros. Rarities 1988-2011 hasn't been anthologized often. Bits and pieces have been rounded up in singles boxes, and there was a "Rarities and B-sides" bonus disc added to the 2003 compilation In Time: The Best of R.E.M. 1988-2003, but there was no Warner-era equivalent of Dead Letter Office, and the expanded editions of the albums often skimped on bonus tracks. So this mammoth collection – 131 tracks, all instrumentals, alternate, and singles, mixes, covers, and live tracks that never appeared on albums – is noteworthy for providing a service for dedicated fans who nevertheless stopped buying all those multi-part CD singles somewhere around New Adventures in Hi-Fi or Up. The eagle-eyed will notice there are a few songs missing – usually, these are alternate versions from the early '90s – but there are also a couple of live cover versions M.I.A., along with instrumental B-sides from Automatic for the People – but the sheer heft of the set guarantees that almost all will take its title claim of "Complete" as factual; it's close enough to complete for most intents and purposes.

Unlike its companion, Complete Rarities: IRS 1982-1987, the music collected on the 2014 digital-only Complete Warner Bros. Rarities 1988-2011 hasn't been anthologized often. Bits and pieces have been rounded up in singles boxes, and there was a "Rarities and B-sides" bonus disc added to the 2003 compilation In Time: The Best of R.E.M. 1988-2003, but there was no Warner-era equivalent of Dead Letter Office, and the expanded editions of the albums often skimped on bonus tracks. So this mammoth collection – 131 tracks, all instrumentals, alternate, and singles, mixes, covers, and live tracks that never appeared on albums – is noteworthy for providing a service for dedicated fans who nevertheless stopped buying all those multi-part CD singles somewhere around New Adventures in Hi-Fi or Up. The eagle-eyed will notice there are a few songs missing – usually, these are alternate versions from the early '90s – but there are also a couple of live cover versions M.I.A., along with instrumental B-sides from Automatic for the People – but the sheer heft of the set guarantees that almost all will take its title claim of "Complete" as factual; it's close enough to complete for most intents and purposes.

Fables of the Reconstruction (or Reconstruction of the Fables) is the third studio album by American alternative rock band R.E.M. It was released on June 10, 1985, through I.R.S. Records. It was the band's first album recorded outside of the U.S., with sessions taking place at Livingston Studios in London with producer Joe Boyd. The record displays a darker, murkier sound and lyrics drawing from Southern Gothic themes and characters. Additionally, more varied instrumentation is utilized, including string and brass arrangements and banjo. Critical reception to Fables of the Reconstruction was positive, with many reviews noting its folk elements and murky tone. Retrospectively, it has also been viewed as a transitional album, retaining the sound and obscure themes of the band's early work while hinting at the experimentation with acoustic instrumentation that would be present on their later albums.

"Near Wild Heaven" is the third single released from R.E.M.'s seventh studio album Out of Time in 1991. The song was the first single released by the band to have had its lyrics both co-written and sung by bassist Mike Mills. According to a quotation from Peter Buck in R.E.M. Inside Out: The Stories Behind Every Song by Craig Rosen, the lyrics are a collaboration between Mills and lead singer Michael Stipe. It peaked at No. 27 on the UK Singles Chart but the single was not released in the United States. This is the third in the series of Limited Edition CDs to be released alongside singles from the LP 'Out Of Time'. Each one will include 3 LIVE Songs, all complimentary to those available on the other formats. Collectively they will form a unique record of R.E.M. In Concert.

Fables of the Reconstruction (or Reconstruction of the Fables) is the third studio album by American alternative rock band R.E.M. It was released on June 10, 1985, through I.R.S. Records. It was the band's first album recorded outside of the U.S., with sessions taking place at Livingston Studios in London with producer Joe Boyd. The record displays a darker, murkier sound and lyrics drawing from Southern Gothic themes and characters. Additionally, more varied instrumentation is utilized, including string and brass arrangements and banjo. Critical reception to Fables of the Reconstruction was positive, with many reviews noting its folk elements and murky tone. Retrospectively, it has also been viewed as a transitional album, retaining the sound and obscure themes of the band's early work while hinting at the experimentation with acoustic instrumentation that would be present on their later albums.

R.E.M. mark the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe", was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Throughout the '80s, they worked relentlessly, releasing records every year and touring constantly, playing both theaters and backwoods dives. Along the way, they inspired countless bands, from the legions of jangle pop groups in the mid-'80s to scores of alternative pop groups in the '90s, who admired their slow climb to stardom.

R.E.M. mark the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe", was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Throughout the '80s, they worked relentlessly, releasing records every year and touring constantly, playing both theaters and backwoods dives. Along the way, they inspired countless bands, from the legions of jangle pop groups in the mid-'80s to scores of alternative pop groups in the '90s, who admired their slow climb to stardom.

CLASSIC REM BROADCAST RECORDING FROM 1991 Despite Out Of Time selling 12 million albums worldwide, R.E.M. did not tour to promote it; instead the group played a series of one-off shows, including an appearance taped for an episode of MTV s Unplugged, and released music videos for each song on the video album This Film Is On. Another one-off the quartet performed was at London s tiny Borderline Club on 19th March 91, with an unannounced show, scheduled and promoted as Bingo Hand Job. With this legendary gig recorded for FM Radio Broadcast across Europe and synched too back home in the USA, the entire show is now available on this double CD, with bonus cuts recorded at another small club appearance in Milan a few days later.