Arriving mere months before Document took the group into the Top Ten, the B-sides and rarities collection Dead Letter Office sums up all of the quirks and idiosyncrasies that made R.E.M. the leading underground guitar pop band of the '80s. While only a handful of songs on Dead Letter Office rank among the group's best, the record is extremely entertaining, even for casual fans, particularly because it captures the wild spirit of R.E.M. that was evident at their concerts, but not always on their records…
Recorded during and immediately following R.E.M.'s disaster-prone Monster tour, New Adventures in Hi-Fi feels like it was recorded on the road. Not only are all of Michael Stipe's lyrics on the album about moving or travel, the sound is ragged and varied, pieced together from tapes recorded at shows, soundtracks, and studios, giving it a loose, careening charm. New Adventures has the same spirit of much of R.E.M.'s IRS records, but don't take the title of New Adventures in Hi-Fi lightly – R.E.M. tries different textures and new studio tricks. "How the West Was Won and Where It Got Us" opens the album with a rolling, vaguely hip-hop drum beat and slowly adds on jazzily dissonant piano. "E-Bow the Letter" starts out as an updated version of "Country Feedback," then it turns in on itself with layers of moaning guitar effects and Patti Smith's haunting backing vocals. Clocking in at seven minutes, "Leave" is the longest track R.E.M. has yet recorded and it's one of their strangest and best – an affecting minor-key dirge with a howling, siren-like feedback loop that runs throughout the entire song.
Turning away from the sweet pop of Out of Time, R.E.M. created a haunting, melancholy masterpiece with Automatic for the People. At its core, the album is a collection of folk songs about aging, death, and loss, but the music has a grand, epic sweep provided by layers of lush strings, interweaving acoustic instruments, and shimmering keyboards. Automatic for the People captures the group at a crossroads, as they moved from cult heroes to elder statesmen, and the album is a graceful transition into their new status. It is a reflective album, with frank discussions on mortality, but it is not a despairing record – "Nightswimming," "Everybody Hurts," and "Sweetness Follows" have a comforting melancholy, while "Find the River" provides a positive sense of closure. R.E.M. have never been as emotionally direct as they are on Automatic for the People, nor have they ever created music quite as rich and timeless, and while the record is not an easy listen, it is the most rewarding record in their oeuvre.
R.E.M. began to move toward mainstream record production on Lifes Rich Pageant, but they didn't have a commercial breakthrough until the following year's Document. Ironically, Document is a stranger, more varied album than its predecessor, but co-producer Scott Litt – who would go on to produce every R.E.M. album in the following decade – is a better conduit for the band than Don Gehman, giving the group a clean sound without sacrificing their enigmatic tendencies. "Finest Worksong," the stream-of-conscious rant "It's the End of the World as We Know It (And I Feel Fine)," and the surprise Top Ten single "The One I Love" all crackle with muscular rhythms and guitar riffs, but the real surprise is how political the mid-tempo jangle pop of "Welcome to the Occupation," "Disturbance at the Heron House," and "King of Birds" is. Where Lifes Rich Pageant sounded a bit like a party record, Document is a fiery statement, and its memorable melodies and riffs are made all the more indelible by its righteous anger.
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.
As far as major-label debuts by underground bands go, Green is fairly uncompromising. While it displays a more powerful guitar sound on "Get Up," "Turn You Inside Out," and "Orange Crush," it also takes more detours than Document, whether it's the bizarrely affecting contemporary folk of "The Wrong Child" and "You Are the Everything," the bubblegum of "Stand" and "Pop Song 89," or the introspection of the lovely "Hairshirt" and "World Leader Pretend." But instead of presenting a portrait of a band with a rich, eclectic vision, Green is incoherent. While its best moments are flat-out great, the band has bitten off more than it can chew; many of the songs sound like failed experiments, and its arena-ready production now sounds slightly dated. Nevertheless, half of the record is brilliant, and it certainly indicates that R.E.M. are continuing to diversify their sound.
A multi-instrumentalist who, like Stevie Wonder, mixes genres effortlessly, Britain's Eddy Grant deserves a wider audience, but for those who want just the hits, this collection fills the bill.