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| The band's commercial breakthough is an artistic high point, with hits The One I Love, It's The End Of The World As We Know It (And I Feel Fine), Finest Worksong, etc. |
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| 1 Finest Worksong |
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| 2 Welcome to the Occupation |
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| 3 Exhuming McCarthy |
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| 4 Disturbance at the Heron House |
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| 5 Strange |
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| 6 It's the End of the World as We Know It (And I Feel Fine) |
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| 7 The One I Love |
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| 8 Fireplace |
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| 9 Lightnin' Hopkins |
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| 10 King of Birds |
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| 11 Oddfellows Local 151 |
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Album Review
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. In other words, it's not only a commercial breakthrough, but a creative breakthrough as well, offering evidence of R.E.M.'s growing depth and maturity, and helping usher in the P.C. era in the process. ~ Stephen Thomas Erlewine, All Music Guide
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• Biography
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Other albums by: R.E.M. |
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