R.e.m

R.E.M. grew up with the BBC, and this historic relationship is lovingly celebrated across an incredible collection that beautifully illustrates the career trajectory of one of modern music’s greatest bands. The collection—available as a super-deluxe edition 8-CD/1-DVD box set, as well as 2-CD, 2-LP and digital formats—comprises a treasure trove of rare and unreleased live and studio recordings culled from the BBC and band archives. This is a must-have collection for R.E.M. fans and an authoritative introduction for newcomers.

R.E.M. verscheen ten tonele toen post-punk overging in alternatieve rock. Hun eerste single, "Radio Free Europe," uit 1981, veroorzaakte een terug-naar-de-garage beweging in de Amerikaanse underground. Door de combinatie van gitaarsolo's, gemompelde, cryptische teksten en een D.H.Z. esthetiek die was overgenomen van de post-punk, klonk de band zowel traditioneel als modern. Gedurende de jaren '80 werkten ze onafgebroken; ze brachten elk jaar platen uit en waren voortdurend op tournee. Tegen het eind van de jaren '80, was hun fanbase groot genoeg om goede verkopen te garanderen, maar het top tien succes van Document en "The One I Love" in 1987 was toch onverwachts. Na Document groeide R.E.M. langzaam uit tot een van 's werelds populairste bands.

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.

THREE DISC SET CELEBRATING THE EXTRAORDINARY MUSIC OF R.E.M. It s more than 10 years since R.E.M. last toured, and almost eight since their last studio album, but it seems there is more interest in this seminal band right now then there has been at any time since they called it a day. This 3 CD set celebrates the stunning musical career of R.E.M. by compiling some of the best recordings available of the group in concert across their time together as a touring unit. Featuring full shows, all recorded for FM radio broadcast, in 1983, 1984 and 1989 respectively, this box-set will delight collectors of R.E.M. s music the world across.

R.E.M. verscheen ten tonele toen post-punk overging in alternatieve rock. Hun eerste single, "Radio Free Europe," uit 1981, veroorzaakte een terug-naar-de-garage beweging in de Amerikaanse underground. Door de combinatie van gitaarsolo's, gemompelde, cryptische teksten en een D.H.Z. esthetiek die was overgenomen van de post-punk, klonk de band zowel traditioneel als modern. Gedurende de jaren '80 werkten ze onafgebroken; ze brachten elk jaar platen uit en waren voortdurend op tournee. Tegen het eind van de jaren '80, was hun fanbase groot genoeg om goede verkopen te garanderen, maar het top tien succes van Document en "The One I Love" in 1987 was toch onverwachts. Na Document groeide R.E.M. langzaam uit tot een van 's werelds populairste bands.

THREE DISC SET CELEBRATING THE EXTRAORDINARY MUSIC OF R.E.M. It s more than 10 years since R.E.M. last toured, and almost eight since their last studio album, but it seems there is more interest in this seminal band right now then there has been at any time since they called it a day. This 3 CD set celebrates the stunning musical career of R.E.M. by compiling some of the best recordings available of the group in concert across their time together as a touring unit. Featuring full shows, all recorded for FM radio broadcast, in 1983, 1984 and 1989 respectively, this box-set will delight collectors of R.E.M. s music the world across.

R.E.M. close out their Warner contract – not to mention their entire career – with the double-disc Part Lies Part Heart Part Truth Part Garbage, their first compilation to combine early recordings from their time at IRS with their major-label hits for Warner. It's misleading to look at these as merely two separate eras, as it more accurately breaks down into a three-act structure: the IRS years when R.E.M. were the kings of college rock; the stretch between 1988-1995 when they were international superstars; and then the slow decline of 1998-2011, the years after Bill Berry, the years when Peter Buck, Michael Stipe, and Mike Mills tried to redefine the group as a trio before finally realizing they'd said all they could say.

Fables of the Reconstruction was intentionally murky, and Lifes Rich Pageant was constructed as its polar opposite. Teaming with producer Don Gehman, who previously worked with John Mellencamp, R.E.M. developed their most forceful record to date. Where previous records kept the rhythm section in the background, Pageant emphasizes the beat, and the band turns in its hardest rockers to date, including the anthemic "Begin the Begin" and the punky "Just a Touch." But the cleaner production also benefits the ballads and the mid-tempo janglers, particularly since it helps reveal Michael Stipe's growing political obsessions, especially on the environmental anthems "Fall on Me" and "Cuyahoga." The group hasn't entirely left myths behind – witness the Civil War ballad "Swan Swan H" – but the band sound more contemporary both musically and lyrically than they did on either Fables or Murmur, which helps give the record an extra kick. And even with excellent songs like "I Believe," "Flowers of Guatemala," "These Days," and "What if We Give It Away," it's ironic that the most memorable moment comes from the garage rock obscurity "Superman," which is sung with glee by Mike Mills.