Reveal continued the new direction with a more upbeat sound than Up. It had 3 singles, and came in at #6 in the US, and #1 in the UK. The album was later remixed as r.e.m.IX, which was released as a free download from the band’s website. Joey Waronker continued to guest star as drummer.
- “The Lifting”: The album has an overall more electronic sound. This is a good opener. I like the mix on Michael’s vocals. It’s meant to be a prequel to “Daysleeper”.
- “I’ve Been High”: This has a good rhythm.
- “All the Way to Reno (You’re Gonna Be a Star)” This was the only single that didn’t chart. I like the guitar mix on this, and Michael’s voice is beautiful.
- “She Just Wants to Be”: This isn’t bad, but it’s not one of my favorite songs.
- “Disappear”: This song grew out of the friendship Stipe had with Thom Yorke of Radiohead fame. Stipe would tell him a good way to deal with stagefright is to tell yourself you’re not there. This became the song “How to Disappear Completely” on Kid A. This is one of the best songs.
- “Saturn Return”: This song conveys a since of loneliness, which is ironic considering the number of moons Saturn actually has.
- “Beat A Drum”: I like the keyboard on this song.
- “Imitation of Life”: This song’s title comes from the 1959 movie, and is a metaphor of puberty. I love this song.
- “Summer Turns to High”: Some dreamy instrumentation at the start. This song had to grow on me.
- “Chorus and the Ring”: I don’t like the way this song is mixed. I thought I heard too much fuzz. But it be just me.
- “I’ll Take the Rain”: Peter has a nice melancholic melody.
- “Beachball” : Three of the songs on this album are meant to be a tribute to the Beach Boys. (The others are “Beat a Drum” and “Summer Turn to High”. This is the one that feels the closest to that sound.
Final Verdict: This album had to grow on me, but I like it.
Up was R.E.M.’s first album without Bill Berry. Instead, they relied on session drummers Barrett Martin and Joey Waronker, (Martin had also worked with Screaming Trees and the supergroup Mad Season, as well as on several jazz projects. Waronker worked for Beck and Atoms For Peace) and drum machines. The album was produced by Pat McCarthy. The album had 4 singles, and reached #3 in the US and #2 in the UK.
- “Airportman”: This has some distortion that doesn’t sound all that good.
- “Lotus”: This has some good keyboard parts and surreal lyrics.
- “Suspicion”: This was the only single that didn’t chart. It’s got some great guitar work.
- “Hope”: This one’s not bad.
- “At My Most Beautiful”: Stipe sounds beautiful on this, and it has nice harmonies and keyboards.
- “The Apologist”: This is one of my favorite songs.
- “Sad Professor”: This has a nice guitar.
- “You’re in the Air”: I like the instrumentation. It hasa nice ethereal feel to it.
- “Walk Unafraid”: I like the rhythm of this song. Another favorite.
- “Why Not Smile”: Some nice slow keyboard and guitar on this.
- “Daysleeper”: This has a calming rhythm. One of my favorite songs.
- “Diminished “: This has a hidden track with Stipe on a solo guitar.
- “Parakeet”: This is probably one of my least favorite songs on the album.
- “Falls to Climb”: This is a good closer.
Final Verdict: This was one that had to grow on me. After a few listens, I liked it better than when I first listened.
New Adventures in Hi-Fi was the last album to feature Bill Berry, who left amicably due to his health, and the last album produced by Scott Litt. The album had 4 singles, and reached #2 in the US and #1 in the UK.
- “How the West Was Won and Where It Got Us”: This is a beautiful start, with a great melancholy atmosphere.
- “The Wake-Up Bomb”: This song just rocks. It has a great rhythm.
- “New Test Leper”: Peter was surprised by the reaction to this song, as it was critical of Christianity. He said “It’s not like we ripped up.a picture of the Pope.”, referencing when Sinead O’Connor did the same on an episode of Saturday Night Live.
- “Undertow”: I love the guitar on this one.
- “E-Bow the Letter”: I love Patti Smith’s voice on this, and the cello is excellent. One of the best songs.
- “Leave”: I don’t like the weird noises throughout the song.
- “Departure”: This has some good drumming.
- “Bittersweet Me.” I like the rhythm and guitar for this. It’s another favorite.
- “Be Mine”: This isn’t a bad song. I like Michael’s vocals.
- “Binky the Doormat”: This has a good fuzzy guitar.
- “Zither”: A nice, soft interlude.
- “So Fast, So Numb”: This has great drumming. One of the best songs.
- “Low Desert”: Mike has a great bass hook.
- “Electrolite”: This is a beautiful closer with a nice piano.
Final Verdict: This is still one of my favorite R.E.M. albums.
Monster marked a new sound for R.E.M. The album had 5 singles, and went to #1 in both the US and the UK. The album was promoted with R.E.M.’S first tour since 1989, which caused several health issues.
- “What’s the Frequency, Kenneth?” This song’s title is a reference to a New York incident in which Dan Rather was attacked by assailants and said “Kenneth, what’s the frequency?” Most of the songs on this album have a distorted sound to them, rather than the two previous albums’ usage of pianos, mandolins, and acoustic guitar. I like the tempo on this one, and even though Stipe’s vocals are pushed back in the mix, I still have little trouble understanding the lyrics. Great start.
- “Crush With Eyeliner”: I like the bouncy rhythm on this one. It has a fun glam sound.
- “King of Comedy”: Another song with a good glam edge to it. This has a good bass hook.
- “I Don’t Sleep, I Dream”: This has a more softened feel, with subdued distortion. One of my favorite deep cuts.
- “Star 69”: This has a great fast pace to it. For those who didn’t live in the 90’s, Star 69 was an early pre-caller ID feature. If you pressed star and the numbers 6 and 9 after getting hung up, you could find out who called you.
- “Strange Currencies”: This one is just beautiful, with a slower feel than the previous songs.
- “Tongue”: Stipe sings in a falsetto on this to match the feminine protagonist. I’m not really a fan of this one, as I don’t like his voice.
- “Bang and Blame”: This is one of my favorite songs. I like the changes in rhythm.
- “I Took Your Name”: The guitars on this are tight. I love this song’s mix.
- “Let Me In”: Another song I never cared for.
- “Circus Envy”: This has another fast tempo to it. I didn’t like it the first time I listened, but it grew on me.
- “You”: This sounds a little weird to me.
Final Verdict: This is a bit of a grower overall. I had to listen to the album a few more times than usual to get a feel for it. I don’t think it’s their best work, but I do enjoy revisting it.
Automatic For the People was the first R.E.M. album I ever heard in full. It is included in 1001 Albums You Must Hear Before You Die. The album features orchestral arrangements from John Paul Jones of Led Zeppelin fame. It had 6 singles, and reached #2 in the USA and #1 in the UK. While not necessarily a concept album, the songs are unified by themes on mourning, mortality, and loss.
- “Drive”: This song was inspired by the “Motor Voter” bill, and is telling the listeners to take charge of their lives, and let “nobody tell you what to do.” It’s an excellent mood-setter.
- “Try Not to Breathe”: I like the orchestra on this. It has a good melancholy feel to it.
- “The Sidewinder Sleeps Tonite”: Peter Buck doesn’t care for this song. It was influenced by “The Lion Sleeps Tonite”, a cover of which was included as a B-side on the single. I think it’s all right.
- “Everybody Hurts”: This is a beautiful song that is telling you not to end your life, because everyone goes through rough times. I love to play this song when I’m feeling depressed.
- “New Orleans Instrumental No. 1”: A quick interlude that I kind of like.
- “Sweetness Follows”: This song has some nice instrumentation.
- “Monty Got a Raw Deal”: Peter has some excellent guitar work on this.
- “Ignoreland”: This song attacks Ronald Reagan’s economic policies during both of his terms of office, which we are still paying for to this day. Scott Litt plays a good hamonica on this.
- “Star Me Kitten”: I don’t think this is a bad song, but it’s not a favorite.
- “Man in the Moon”: This is a tribute to Andy Kaufman, and inspired the title of the biopic about Kaufman that starred Jim Carrey. It’s another favorite.
- “Nightswimming”: This song has a beautiful piano composed by Mills. The song has a nostalgic feel to it as it narrates a story of memories of swimming naked.
- “Find the River”: This is a gorgeous closer.
Final Verdict: This album is a masterpiece from start to finish. One of the best albums of the 90’s!
R.E.M. was now an international phenomenon. Alternative music was about to blow up, as 1991 was the year it took storm, with albums like Nirvana’s Nevermind, Red Hot Chili Peppers’ Blood Sugar Sex Magik, and Soundgarden’s Badmotorfinger for example. This album won R.E.M. their first Grammy (Best Alternative Album), had four singles, and went to the top of the charts in both the UK and the US. But is this album really that good? Um…
- “Radio Song”: Look, I love KRS-One. And the song has a good case. But Public Enemy did the same topic better with “How to Kill a Radio Consultant”. KRS-One is literally all over this song, and he ruins it. If he’d only done his rap at the end and laid off the “baby-baby-baby” it might’ve been better.
- “Losing My Religion “: Why wasn’t this song at the start? This is is a beautiful song. This is what we should’ve started with!
- “Low”: What a snoozer. Next.
- “Near Wild Heaven”: This song is fine. It’s not terrible.
- “Endgame”: The guitar is decent on this.
- “Shiny Happy People”: This song just doesn’t work. Kate Pierson’s guest vocals are fine, but it’s too happy for its irony. Maybe if Fred Schneider was on this?
- “Belong”: I can barely hear the vocals on this, and it’s more boring than “Low”.
- “Half a World Away”: This is OK.
- “Texarkana”: Can we please stop letting Mike sing lead? He sounds terrible!
- “Country Feedback”: The best song on side 2. It’s too bad we had to wait so long for a good song.
- “Me in Honey”: Of the two songs Kate is on, this is the better one. The guitar is great, and she and Stipe sound great together.
Final Verdict: What happened? I’d question the Academy selecting this album, but we all know how clueless they are. They gave a Grammy to C+C Music Factory, for crying out loud! I’d pretty much forgotten about this one. The singles are all fine, but they’re not enough.
Like their debut, Reckoning was produced by Mitch Easter and Don Dixon. They intended to capture R.E.M.’s live sound and used binaural recording. The album was recorded faster than usual in order to prevent meddling from I.R.S. to make the album “more commercial”. The album had two singles, and reached #27 in the US and #91 in the UK, and reached Gold status. Many of the songs have watery imagery.
- “Harborcoat”: the album starts with a frenetic-paced opener with some good vocals from Berry and Stipe.
- “7 Chinese Brothers”: This song was inspired by The Five Chinese Brothers by Claire Hutchet Bishop, in which five boys have special powers. One of which is capable of swallowing the ocean. I like the drumming and guitar work.
- “So. Central Rain (I’m Sorry)”: I’ve watched the video for this song, and it is so weird to see how Stipe looked when the band was starting out. I like the somber feel of the main riff. This is Thom Yorke’s favorite R.E M. song, and one of mine too.
- “Pretty Persuasion”: Another one of my favorites. The guitar hits hard and there’s a good rhythm. I think it’s the best song on the album.
- “Time After Time (Annelise)”: Another nice somber track with some good bass.
- “Second Guessing “: A decent guitar on this one.
- “Letter Never Sent”: This has a good rhythm to it.
- “Camera”: This is about a friend who died in a car crash. It’s probably one of the darkest songs on the album.
- “(Don’t Go Back To) Rockville”: This was written by Mills as a plea to his girlfriend not to return to Rockville, a town in Maryland. In fact, sometimes Mike Mills would sing the lead vocals instead of Stipe. It has a good piano solo. It was later covered by 10,000 Maniavs
- “Little America”: Not a good closer, but not bad.
Final Verdict: This is a rushed follow-up, and although I like Murmur better, it’s not a sophomore slump.
With The Quest, we have a Ship of Theseus situation: it’s the first album with no original members. This is the first album to feature Billy Sherwood since The Ladder. This is also sadly Alan White’s finale (his replacement, Jay Schellen, is one of the guest musicians). The album had 3 singles.
Jon Davison: lead vocals, guitar on track 6
Steve Howe: guitars, mandolin, koto, autoharp, vocals
Billy Sherwood: bass, piano (track 3), keyboards and acoustic guitar (track 5), vocals
Geoff Downes: piano, Hammond organ, synthesizers, Mellotron, and piano
Alan White: drums
- “The Ice Bridge”: Now, this is how you start an album! We have some excellent keyboards reminiscent of “Fanfare For the Common Man” and a cool guitar and bass ensemble. It feels like the kind of song that should have been on the 80’s Yes albums, but in a good way.
- “Dare to Know”: This feels like it was left off Magnification, with a beautiful orchestra.
- “Minus the Man”: The lyrics aren’t working for me, but I like the instrumentation.
- “Leave Well Alone”: This has Howe playing a koto and some sweet rhythm.
- “The Western Edge”: I’m not keen on Sherwood’s vocals on this one, but the rest of the song is good.
- “Future Memories”: This has a good bassline.
- “Music to My Ears”: This one has some great guitar and piano parts.
- “A Living Island “: This song was inspired by the pandemic while Davison was on lockdown in Barbados. It’s got some of the best guitar work on the album. The keys come in nice, and there’s some great rhythm too.
- “Sister Sleeping Soul”: The guitar and vocals are pretty good on this, but it’s missing a bassline.
- “Mystery Tour”: This is a tribute to The Beatles, and to be honest, it’s kind of lame. Good thing it’s the shortest song on the album.
- “Damaged World”: I appreciate the sentiment, but I don’t like the vocals on this.
Final Verdict: I don’t know what the critics were listening to, because I enjoyed this album. It had some flaws, but it’s not bad at all.
With Benoît David fired from Yes due to his respiratory issues, Yes had no vocalist. The late Foo Fighters drummer Taylor Hawkins recommended Jon Davison, who would begin his tenure as vocalist with this album. It would also be the last album for Chris Squire, as he died of leukemia a year later. This album is not on Spotify.
Jon Davison: vocals
Steve Howe: guitars
Chris Squire: bass
Geoff Downes: keyboards
Alan White: drums
- “Believe Again”: One of the good things about Davison is that his vocals sound very similar to Anderson. The guitars sound nice, but it kind of falls apart during the choruses.
- “The Game”: There’s some excellent guitar and keyboards on this, but the rhythm sounds basic.
- “Step Beyond”: There’s some unnecessary layering on the vocals during the verses, and the keyboards sound awful. Things slightly pick up during the chorus, but not enough to save the song.
- “To Ascend”: This song isn’t excellent, but it’s better than the songs that led up to it. The guitars and keys sound cool, and the rhythm is better as well.
- “In a World of Our Own “: The keys and guitar sound great on this, although White still doesn’t quite sound good.
- “Light of the Ages”: This is the best song on the album, with some excellent guitar and bass. The rhythm is better than it’s been up until now.
- “It Was All We Knew”: The guitar on this is all right, but Downes’ keyboards sound a little strange.
- “Subway Walls”: Squire’s bass is excellent on this, making me wonder what he’s been doing this whole album. It’s a good song overall, but not enough to save the album.
Final Verdict: This album is a real disappointment, and I was hoping I’d enjoy it. While Davison sounds like a good fit, the bass and rhythm is overall lackluster.
During the tour for The Ladder, Igor Khoroshev became repeatedly involved with female security guards, leading to misdemeanor charges. This caused him to be fired from the band, and they were once again without a keyboardist. After an online vote, they chose conductor and longtime Yes fan Larry Groupé. The album was produced by Tim Weidner, and orchestral arrangements were recorded by the San Diego Symphony Orchestra. The cover was designed by Bob Cesca, although it still retained the iconic logo. This was the first time since Time and a Word that an orchestra was used. The album charted at #71 in the UK and #186 in the US. This was the last album to feature Jon Anderson. It was also their first album to be recorded digitally, using Pro Tools.
Jon Anderson: lead vocals, MIDI guitar
Steve Howe: acoustic and electric guitars, pedal steel guitar, backing vocals
Chris Squire: bass, lead vocals on “Can You Imagine”, backing vocals
Alan White: drums, percussion, acoustic piano
- “Magnification”: the title track starts with light and airy guitars, then a rumbling bass before the wood winds and percussion kick in. We hear some beautiful violins throughout the song. The song has great energy.
- “Spirit of Survival”:’The song starts with isolated vocals, before some acoustic layers. This is followed by a great bass and drum beat before the song enters full swing. The violins are a beautiful effect, with a great guitar solo at the end.
- “Don’t Go”: This has a bouncy feel as the guitars and violins play off each other.
- “Give Love Each Day”: This song has a great dramatic violin section before Anderson starts singing. There are gentle chords that build to a powerful chorus.
- “Can You Imagine”: This is the only song sung by Chris Squire, with Anderson on backing vocals. Despite this being such a short song, it still has time for some good vocals and guitar, with some nice violins and piano.
- “We Agree”: This has an intricate acoustic melody, with subdued vocals that allow the violins and percussion more presence. It has some nice production.
- “Soft as a Dove”: This has some nice wood winds at the start, before violins carry the song into a strong midsection.
- “Dreamtime”: The violins give this a very dreamy feel, with some nice dramatic ambience.
- “In the Presence of”: This suite starts with some beautiful vocals, building into White’s drums. The opening calms down after Howe has an excellent solo, then we get another beautiful melody. The song shifts to a slower tempo, but with an intense orchestra. This was one of my favorite songs.
- “Time is Time”: The album’s closer has a gentle feel with beautiful melodies and vocals. It’s a great way to calm things down.
Final Verdict: For such a late entry in the band’s history, this shows the band can still experiment with a new sound. The orchestra is not a mere gimmick, rather it is a new dimension, allowing the band to create beautiful sections for each song. It really made me wish I could have caught the band with its orchestra. The production is well done, and I think this is far too underrated.