Wikipedysta:De Charlus/brudnopis: Różnice pomiędzy wersjami
spolszczenie angielskich szablonów cytowania |
De Charlus (dyskusja | edycje) es |
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* ''[[And I Feel Fine ... The Best of the I.R.S. Years 1982-1987]]'' ([[2006]]) |
* ''[[And I Feel Fine ... The Best of the I.R.S. Years 1982-1987]]'' ([[2006]]) |
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* ''[[Part Lies Part Heart Part Truth Part Garbage 1982-2011]]'' ([[2011]]) |
* ''[[Part Lies Part Heart Part Truth Part Garbage 1982-2011]]'' ([[2011]]) |
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==League table== |
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{{2013–14 Premier League table|team=ALL}} |
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==Results== |
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{{Fb r header |nt=20 |Arsenal |Aston Villa |Cardiff City |Chelsea |Crystal Palace |Everton |Fulham |Hull City |Liverpool |Manchester City |Manchester United |Newcastle United |Norwich City |Southampton |Stoke City |Sunderland |Swansea City |Tottenham Hotspur |West Bromwich Albion |West Ham United}} |
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{{fb r team |t=Arsenal}} |
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<!-- Chelsea--> {{fb r |gf=0|ga=0|ma=Arsenal F.C.–Chelsea F.C. rivalry}} |
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<!-- Crystal Palace--> {{fb r |gf=2|ga=0}} |
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<!-- Everton--> {{fb r |gf=1|ga=1}} |
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<!-- Fulham--> {{fb r |gf=2|ga=0}} |
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<!-- Hull City--> {{fb r |gf=2|ga=0}} |
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<!-- Manchester United--> {{fb r |gf=0|ga=0|ma=Arsenal F.C.–Manchester United F.C. rivalry}} |
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<!-- Swansea City--> {{fb r |gf=2|ga=2}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=1|ga=0|ma=North London derby}} |
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<!-- West Ham United--> {{fb r |gf=|ga=}} |
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{{fb r team |t=Aston Villa}} |
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<!-- Crystal Palace--> {{fb r |gf=0|ga=1}} |
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<!-- Everton--> {{fb r |gf=0|ga=2}} |
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<!-- Liverpool--> {{fb r |gf=0|ga=1}} |
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<!-- Manchester City--> {{fb r |gf=3|ga=2}} |
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<!-- Sunderland--> {{fb r |gf=0|ga=0}} |
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<!-- Swansea City--> {{fb r |gf=1|ga=1}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=0|ga=2}} |
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<!-- West Bromwich Albion--> {{fb r |gf=4|ga=3}} |
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<!-- West Ham United--> {{fb r |gf=0|ga=2}} |
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{{fb r team |t=Cardiff City}} |
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<!-- Arsenal--> {{fb r |gf=0|ga=3}} |
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<!-- Aston Villa--> {{fb r |gf=0|ga=0}} |
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<!-- Cardiff City--> {{fb r |r=null}} |
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<!-- Crystal Palace--> {{fb r |gf=0|ga=3}} |
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<!-- Everton--> {{fb r |gf=0|ga=0}} |
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<!-- Fulham--> {{fb r |gf=3|ga=1}} |
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<!-- Hull City--> {{fb r |gf=0|ga=4}} |
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<!-- Liverpool--> {{fb r |gf=3|ga=6}} |
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<!-- Manchester City--> {{fb r |gf=3|ga=2}} |
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<!-- Manchester United--> {{fb r |gf=2|ga=2}} |
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<!-- Newcastle United--> {{fb r |gf=1|ga=2}} |
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<!-- Norwich City--> {{fb r |gf=2|ga=1}} |
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<!-- Southampton--> {{fb r |gf=0|ga=3}} |
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<!-- Stoke City--> {{fb r |gf=|ga=}} |
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<!-- Sunderland--> {{fb r |gf=2|ga=2}} |
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<!-- Swansea City--> {{fb r |gf=1|ga=0|ma=South Wales derby}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=0|ga=1}} |
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<!-- West Bromwich Albion--> {{fb r |gf=1|ga=0}} |
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<!-- West Ham United--> {{fb r |gf=0|ga=2}} |
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{{fb r team |t=Chelsea}} |
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<!-- Arsenal--> {{fb r |gf=6|ga=0|ma=Arsenal F.C.–Chelsea F.C. rivalry}} |
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<!-- Aston Villa--> {{fb r |gf=2|ga=1}} |
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<!-- Cardiff City--> {{fb r |gf=4|ga=1}} |
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<!-- Chelsea--> {{fb r |r=null}} |
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<!-- Crystal Palace--> {{fb r |gf=2|ga=1}} |
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<!-- Everton--> {{fb r |gf=1|ga=0}} |
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<!-- Fulham--> {{fb r |gf=2|ga=0|ma=West London derby}} |
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<!-- Hull City--> {{fb r |gf=2|ga=0}} |
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<!-- Liverpool--> {{fb r |gf=2|ga=1|ma=Chelsea F.C. – Liverpool F.C. rivalry}} |
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<!-- Manchester City--> {{fb r |gf=2|ga=1}} |
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<!-- Manchester United--> {{fb r |gf=3|ga=1}} |
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<!-- Newcastle United--> {{fb r |gf=3|ga=0}} |
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<!-- Swansea City--> {{fb r |gf=1|ga=0}} |
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<!-- West Bromwich Albion--> {{fb r |gf=2|ga=2}} |
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<!-- West Ham United--> {{fb r |gf=0|ga=0}} |
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{{fb r team |t=Crystal Palace}} |
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<!-- Arsenal--> {{fb r |gf=0|ga=2}} |
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<!-- Aston Villa--> {{fb r |gf=|ga=}} |
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<!-- Chelsea--> {{fb r |gf=1|ga=0}} |
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<!-- Everton--> {{fb r |gf=0|ga=0}} |
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<!-- Fulham--> {{fb r |gf=1|ga=4}} |
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<!-- Manchester City--> {{fb r |gf=|ga=}} |
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<!-- Manchester United--> {{fb r |gf=0|ga=2}} |
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<!-- West Ham United--> {{fb r |gf=1|ga=0}} |
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{{fb r team |t=Everton}} |
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<!-- Arsenal--> {{fb r |gf=3|ga=0}} |
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<!-- Aston Villa--> {{fb r |gf=2|ga=1}} |
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<!-- Cardiff City--> {{fb r |gf=2|ga=1}} |
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<!-- Chelsea--> {{fb r |gf=1|ga=0}} |
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<!-- Crystal Palace--> {{fb r |gf=|ga=}} |
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{{fb r team |t=Fulham}} |
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<!-- Aston Villa--> {{fb r |gf=2|ga=0}} |
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<!-- Cardiff City--> {{fb r |gf=1|ga=2}} |
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<!-- Chelsea--> {{fb r |gf=1|ga=3|ma=West London derby}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=1|ga=2}} |
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<!-- West Bromwich Albion--> {{fb r |gf=1|ga=1}} |
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<!-- West Ham United--> {{fb r |gf=2|ga=1}} |
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{{fb r team |t=Hull City}} |
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<!-- Arsenal--> {{fb r |gf=|ga=}} |
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<!-- Liverpool--> {{fb r |gf=3|ga=1}} |
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<!-- Manchester City--> {{fb r |gf=0|ga=2}} |
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<!-- Manchester United--> {{fb r |gf=2|ga=3}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=1|ga=1}} |
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<!-- West Bromwich Albion--> {{fb r |gf=2|ga=0}} |
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<!-- West Ham United--> {{fb r |gf=1|ga=0}} |
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{{fb r team |t=Liverpool}} |
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<!-- Arsenal--> {{fb r |gf=5|ga=1}} |
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<!-- Aston Villa--> {{fb r |gf=2|ga=2}} |
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<!-- Cardiff City--> {{fb r |gf=3|ga=1}} |
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<!-- Chelsea--> {{fb r |gf=|ga=|ma=Chelsea F.C. – Liverpool F.C. rivalry}} |
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<!-- Crystal Palace--> {{fb r |gf=3|ga=1}} |
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<!-- Everton--> {{fb r |gf=4|ga=0|ma=Merseyside derby}} |
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<!-- Fulham--> {{fb r |gf=4|ga=0}} |
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<!-- Liverpool--> {{fb r |r=null}} |
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<!-- Manchester City--> {{fb r |gf=|ga=}} |
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<!-- Newcastle United--> {{fb r |gf=|ga=}} |
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<!-- Norwich City--> {{fb r |gf=5|ga=1}} |
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<!-- Southampton--> {{fb r |gf=0|ga=1}} |
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<!-- Sunderland--> {{fb r |gf=2|ga=1}} |
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<!-- Swansea City--> {{fb r |gf=4|ga=3}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=4|ga=0}} |
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<!-- West Bromwich Albion--> {{fb r |gf=4|ga=1}} |
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<!-- West Ham United--> {{fb r |gf=4|ga=1}} |
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{{fb r team |t=Manchester City}} |
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<!-- Arsenal--> {{fb r |gf=6|ga=3}} |
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<!-- Aston Villa--> {{fb r |gf=|ga=}} |
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<!-- Cardiff City--> {{fb r |gf=4|ga=2}} |
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<!-- Chelsea--> {{fb r |gf=0|ga=1}} |
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<!-- Crystal Palace--> {{fb r |gf=1|ga=0}} |
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<!-- Everton--> {{fb r |gf=3|ga=1}} |
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<!-- Fulham--> {{fb r |gf=5|ga=0}} |
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<!-- Hull City--> {{fb r |gf=2|ga=0}} |
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<!-- Liverpool--> {{fb r |gf=2|ga=1}} |
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<!-- Manchester City--> {{fb r |r=null}} |
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<!-- Manchester United--> {{fb r |gf=4|ga=1|ma=Manchester derby}} |
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<!-- Newcastle United--> {{fb r |gf=4|ga=0}} |
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<!-- Norwich City--> {{fb r |gf=7|ga=0}} |
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<!-- Southampton--> {{fb r |gf=4|ga=1}} |
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<!-- Swansea City--> {{fb r |gf=3|ga=0}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=6|ga=0}} |
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<!-- West Bromwich Albion--> {{fb r |gf=|ga=}} |
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<!-- West Ham United--> {{fb r |gf=|ga=}} |
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{{fb r team |t=Manchester United}} |
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<!-- Arsenal--> {{fb r |gf=1|ga=0|ma=Arsenal F.C.–Manchester United F.C. rivalry}} |
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<!-- Aston Villa--> {{fb r |gf=4|ga=1}} |
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<!-- Cardiff City--> {{fb r |gf=2|ga=0}} |
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<!-- Chelsea--> {{fb r |gf=0|ga=0}} |
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<!-- Crystal Palace--> {{fb r |gf=2|ga=0}} |
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<!-- Everton--> {{fb r |gf=0|ga=1}} |
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<!-- Fulham--> {{fb r |gf=2|ga=2}} |
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<!-- Hull City--> {{fb r |gf=|ga=}} |
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<!-- Liverpool--> {{fb r |gf=0|ga=3|ma=Liverpool F.C.–Manchester United F.C. rivalry}} |
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<!-- Manchester City--> {{fb r |gf=0|ga=3|ma=Manchester derby}} |
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<!-- Manchester United--> {{fb r |r=null}} |
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<!-- Newcastle United--> {{fb r |gf=0|ga=1}} |
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<!-- Norwich City--> {{fb r |gf=|ga=}} |
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<!-- Southampton--> {{fb r |gf=1|ga=1}} |
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<!-- Stoke City--> {{fb r |gf=3|ga=2}} |
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<!-- Sunderland--> {{fb r |gf=|ga=}} |
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<!-- Swansea City--> {{fb r |gf=2|ga=0}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=1|ga=2}} |
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<!-- West Bromwich Albion--> {{fb r |gf=1|ga=2}} |
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<!-- West Ham United--> {{fb r |gf=3|ga=1}} |
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{{fb r team |t=Newcastle United}} |
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<!-- Arsenal--> {{fb r |gf=0|ga=1}} |
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<!-- Aston Villa--> {{fb r |gf=1|ga=0}} |
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<!-- Cardiff City--> {{fb r |gf=|ga=}} |
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<!-- Chelsea--> {{fb r |gf=2|ga=0}} |
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<!-- Crystal Palace--> {{fb r |gf=1|ga=0}} |
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<!-- Everton--> {{fb r |gf=0|ga=3}} |
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<!-- Fulham--> {{fb r |gf=1|ga=0}} |
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<!-- Hull City--> {{fb r |gf=2|ga=3}} |
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<!-- Liverpool--> {{fb r |gf=2|ga=2}} |
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<!-- Manchester City--> {{fb r |gf=0|ga=2}} |
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<!-- Manchester United--> {{fb r |gf=0|ga=4}} |
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<!-- Newcastle United--> {{fb r |r=null}} |
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<!-- Norwich City--> {{fb r |gf=2|ga=1}} |
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<!-- Southampton--> {{fb r |gf=1|ga=1}} |
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<!-- Stoke City--> {{fb r |gf=5|ga=1}} |
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<!-- Sunderland--> {{fb r |gf=0|ga=3|ma=Tyne–Wear derby}} |
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<!-- Swansea City--> {{fb r |gf=|ga=}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=0|ga=4}} |
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<!-- West Bromwich Albion--> {{fb r |gf=2|ga=1}} |
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<!-- West Ham United--> {{fb r |gf=0|ga=0}} |
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{{fb r team |t=Norwich City}} |
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<!-- Arsenal--> {{fb r |gf=|ga=}} |
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<!-- Aston Villa--> {{fb r |gf=0|ga=1}} |
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<!-- Cardiff City--> {{fb r |gf=0|ga=0}} |
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<!-- Chelsea--> {{fb r |gf=1|ga=3}} |
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<!-- Crystal Palace--> {{fb r |gf=1|ga=0}} |
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<!-- Everton--> {{fb r |gf=2|ga=2}} |
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<!-- Fulham--> {{fb r |gf=1|ga=2}} |
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<!-- Hull City--> {{fb r |gf=1|ga=0}} |
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<!-- Liverpool--> {{fb r |gf=|ga=}} |
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<!-- Manchester City--> {{fb r |gf=0|ga=0}} |
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<!-- Manchester United--> {{fb r |gf=0|ga=1}} |
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<!-- Newcastle United--> {{fb r |gf=0|ga=0}} |
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<!-- Norwich City--> {{fb r |r=null}} |
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<!-- Southampton--> {{fb r |gf=1|ga=0}} |
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<!-- Stoke City--> {{fb r |gf=1|ga=1}} |
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<!-- Sunderland--> {{fb r |gf=2|ga=0}} |
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<!-- Swansea City--> {{fb r |gf=1|ga=1}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=1|ga=0}} |
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<!-- West Bromwich Albion--> {{fb r |gf=0|ga=1}} |
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<!-- West Ham United--> {{fb r |gf=3|ga=1}} |
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{{fb r team |t=Southampton}} |
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<!-- Arsenal--> {{fb r |gf=2|ga=2}} |
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<!-- Aston Villa--> {{fb r |gf=2|ga=3}} |
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<!-- Cardiff City--> {{fb r |gf=|ga=}} |
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<!-- Chelsea--> {{fb r |gf=0|ga=3}} |
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<!-- Crystal Palace--> {{fb r |gf=2|ga=0}} |
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<!-- Everton--> {{fb r |gf=|ga=}} |
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<!-- Fulham--> {{fb r |gf=2|ga=0}} |
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<!-- Hull City--> {{fb r |gf=4|ga=1}} |
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<!-- Liverpool--> {{fb r |gf=0|ga=3}} |
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<!-- Manchester City--> {{fb r |gf=1|ga=1}} |
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<!-- Manchester United--> {{fb r |gf=|ga=}} |
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<!-- Newcastle United--> {{fb r |gf=4|ga=0}} |
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<!-- Norwich City--> {{fb r |gf=4|ga=2}} |
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<!-- Southampton--> {{fb r |r=null}} |
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<!-- Stoke City--> {{fb r |gf=2|ga=2}} |
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<!-- Sunderland--> {{fb r |gf=1|ga=1}} |
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<!-- Swansea City--> {{fb r |gf=2|ga=0}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=2|ga=3}} |
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<!-- West Bromwich Albion--> {{fb r |gf=1|ga=0}} |
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<!-- West Ham United--> {{fb r |gf=0|ga=0}} |
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{{fb r team |t=Stoke City}} |
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<!-- Arsenal--> {{fb r |gf=1|ga=0}} |
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<!-- Aston Villa--> {{fb r |gf=2|ga=1}} |
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<!-- Cardiff City--> {{fb r |gf=0|ga=0}} |
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<!-- Chelsea--> {{fb r |gf=3|ga=2}} |
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<!-- Crystal Palace--> {{fb r |gf=2|ga=1}} |
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<!-- Everton--> {{fb r |gf=1|ga=1}} |
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<!-- Fulham--> {{fb r |gf=|ga=}} |
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<!-- Hull City--> {{fb r |gf=1|ga=0}} |
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<!-- Liverpool--> {{fb r |gf=3|ga=5}} |
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<!-- Manchester City--> {{fb r |gf=0|ga=0}} |
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<!-- Manchester United--> {{fb r |gf=2|ga=1}} |
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<!-- Newcastle United--> {{fb r |gf=|ga=}} |
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<!-- Norwich City--> {{fb r |gf=0|ga=1}} |
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<!-- Southampton--> {{fb r |gf=1|ga=1}} |
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<!-- Stoke City--> {{fb r |r=null}} |
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<!-- Sunderland--> {{fb r |gf=2|ga=0}} |
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<!-- Swansea City--> {{fb r |gf=1|ga=1}} |
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<!-- Tottenham Hotspur--> {{fb r |gf=|ga=}} |
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<!-- West Bromwich Albion--> {{fb r |gf=0|ga=0}} |
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<!-- West Ham United--> {{fb r |gf=3|ga=1}} |
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{{fb r team |t=Sunderland}} |
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<!-- Arsenal--> {{fb r |gf=1|ga=3}} |
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<!-- Aston Villa--> {{fb r |gf=0|ga=1}} |
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<!-- Cardiff City--> {{fb r |gf=|ga=}} |
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<!-- Chelsea--> {{fb r |gf=3|ga=4}} |
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<!-- Crystal Palace--> {{fb r |gf=0|ga=0}} |
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<!-- Everton--> {{fb r |gf=|ga=}} |
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<!-- Fulham--> {{fb r |gf=0|ga=1}} |
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<!-- Hull City--> {{fb r |gf=0|ga=2}} |
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<!-- Liverpool--> {{fb r |gf=1|ga=3}} |
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<!-- Manchester City--> {{fb r |gf=1|ga=0}} |
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<!-- Manchester United--> {{fb r |gf=1|ga=2}} |
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<!-- Newcastle United--> {{fb r |gf=2|ga=1|ma=Tyne–Wear derby}} |
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<!-- Norwich City--> {{fb r |gf=0|ga=0}} |
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<!-- Southampton--> {{fb r |gf=2|ga=2}} |
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<!-- Stoke City--> {{fb r |gf=1|ga=0}} |
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<!-- Sunderland--> {{fb r |r=null}} |
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{{Fb r footer|s=[http://www.premierleague.com/page/FixturesResults/0,,12306,00.html Premier League]|a=yes|u=6 April 2014|date=August 2013}} |
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=== EP === |
=== EP === |
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Wersja z 09:47, 7 kwi 2014
| |
| Pochodzenie |
Athens, Georgia, USA |
|---|---|
| Gatunki | |
| Powiązania |
Automatic Baby, The Baseball Project, Hindu Love Gods, The Minus 5, Tuatara, Tired Pony |
| Strona internetowa | |
R.E.M.' — amerykański zespół rockowy z Athens, Georgia założony w roku 1980 przez wokalistę Micheala Stipe'a, gitarzystę Petera Bucka, basistę Mike'a Millisa i perkusitę Billa Berry'ego. Jeden z pierwszych popularnych zespołów z gatunku rocka alternatywnego, zwracał uwagę specyficznym, związanym z zastosowaniem arpeggio brzmieniem gitary i "mamoroczącym śpiewem guitar style and Stipe'a. R.E.M. wydał swój pierwszy singiel, Radio Free Europe, nakładem niezależnej wytwórni Hib-Tone w roku 1981. Następnie w roku 1982 wydana została EP Chronic Town. Było to pierwsze nagranie zespołu dla wytwórni I.R.S. Records. W roku 1983 grupa wydała debiutancki album Murmur, który spotkał się z ciepłym przyjęciem krytyki. Przez następne lata grupa kontynuowała wydawanie płyt, nieustannie koncerowała i wspierała radio akademickie. Po latach sukcesów poza głównym nurtem, w roku 1987 zespół nagrał cieszący się szerszą popularnością singiel The One I Love. W roku 1988 grupa podpisała kontrakt z wytwórnią Warner Bros. Records, zdobyła światową sławę i zaangażowała się w działaność polityczną i promocję ochrony środowiska.
Na początku lat 90', kiedy rock alternatywny przedzierał się do głównego nurtu, zespół był uznawany przez kontynuatorów gatunku, takich jak Nirvana czy Pavement za pioniera, wtedy także wydał dwa albumy będące jego największym sukcesm komercyjnym, Out of Time (1991) i Automatic for the People (1992), które znacząco różńiły się stylistycznie od wcześniejszej działalności. Płyta Monster stanowiła powrót do bardziej rockowego brzmienia. W ramach promocji albumu zespół ruszył w pierwszą od 6 lat trasę koncertową, która została pokrzyżowana przez wypadki trzech członków zespołu. W roku 1996, R.E.M. podpisało kolejny kontrakt z Warner Bros.na kwotę 80 mln dolarów amerykańskich, co było wtedy najwyższym kontraktem nagraniowym w historii. Rok później Bill Berry opuścił zespół, który kontynuował działalność jako trio przez kolejnych 14 lat, przy drobnych zmianach stylistycznych, spotykając się z różnymi ocenami krytyki i wynikami sprzedaży. W 2007 zespół został wprowadzony do Rock and Roll Hall of Fame[1]. R.E.M. zakończyło swoją dzałalność we wreśniu 2011, informując o tym na swojej stronie internetowej.[2]
Historia
Powstanie zespołu: 1980–1981
Michael Stipe poznał Petera Bucka w styczniu 1980 roku w sklepie płytowym w Athens, gdzie Buck pracował. Łączył ich podobny gust muzyczny, w szczególności zamiłowanie do punk rocka i protopunku, do muzyki artystów takich jak Patti Smith, Television i The Velvet Underground. Stipe: "Okazało się, że kupowałem wszystkie te płyty które [Buck] zachowywał dla siebie."[3] Stipe i Buck niedługo poznali dwóch innych studentów University of Georgia Mike'a Millsa and Billa Berry'ego,[4] którzy grali wspólnie od czasów licealnych.[5] Czwórka zgodziła się współpracować przy kilku utworach; Stipe stwierdził później, że "nie było nigdy za tym żadnych wielkich planów".[3] Ich nie posiadający jeszcze nazwy zespół spędził kilka miesięcy na próbach, pierwszy publiczny występ odbył się 5 kwietnia 1980 na przyjęciu urodzinowym znajomego, które odbywało się w przekształconym kościele w Athens Episcopal church in Athens. Po rozważeniu nazw takich jak Twisted Kites, Cans of Piss, Negro Wives, zespół zdecydował się na R.E.M., wybrane przez Stipe'a poprzez przypadkowe otworzenie słownika.[6]
Członkowie zespołu zdecydowali sie na porzucenie szkół, by skupić się na rozwoju grupy.[7] Menedżerem zespołu został Jefferson Holt, pracownik sklepu płytowego, który był pod takim wrażeniem koncertu zespołu w swoim rodzinnym mieście, Chapel Hill, North Carolina, że przeniósł się do Athens.[8] R.E.M. odniósł niemal natychmiastowy sukces na lokalnej scenie muzycznej; zespół przyciągał coraz większą publiczność na swoje koncerty, co miało konsekwencje w pewenej niechęci wśród lokalnych muzyków.[9] Przez następne półtora roku R.E.M. koncertowało w południowej części USA. Trasa była bardzo uciążliwa, gdyż nie było podówczas ścieżki wyznaczonej dla grup grających rocka alternatywnego. Zespół podróżował starym niebieskim vanem prowadzonym przez Holta, muzycy żywili się za 2$ dziennie.[10]
Latem 1981 roku R.E.M. nagrało swój pierwszy singiel, "Radio Free Europe", w należącym do producenta Mithca Eastera Drive-In Studios w Winston-Salem, w stanie Karolina Północna. Singiel został wydany przez niezależną wytwórnię płytową Hib-Tone w początkowej liczbie tysiąca egzempalrzy, które szybko zostały wyprzedane.[11] Pomimo niewielkiej liczby egzemplarzy, singiel został dostrzeżony przez krytykę, znalazł się nawet na liście najlepszych dziesięciu singli roku dziennika The New York Times.[12]
Epoka I.R.S. Records: 1982–1986
R.E.M. nagrało Chronic Town EP z Mitchem Easterem w październiku 1981, z zamiarem wydania go w powstającej wytwórni Dasht Hopes.[13] Jednak I.R.S. Records nabyło prawa do pierwszego dema zespołu nagranego z Easterem.[14] Zespół odrzucił zakusy dużej wytwórni RCA podpisując 25-tego maja 1982 roku kontrakt z I.R.S. Wytwórnia wydała Chronic Town w sierpniu tego samego roku.[15] Pozytywna recenzja w magazynie NME zwracała uwagę na roztaczaną przez piosenki aurę tajemnicy, recenzja kończyła się zdaniem "R.E.M. brzmi prawdziwie, to wspaniałe usłyszeć coś tak niewymuszonego i przebiegłego."[16]
I.R.S. zaproponowało R.E.M. pracę z Stephenem Haguem jako producentem debiutanckiego albumu. Nacisk Haguea na aspekty techniczne nie spotkał się z uznaniem zespołu i poproszono o możliwość kontynuowania współpracy z Easterem.[17] Wytwórnia zgodziła się na "próbną" sesję w Karolinie Północnej. Zespół nagrał piosenkę "Pilgrimage" z Easterem i Donem Dixonem. Nagrany materiał został zaakceptowany przez I.R.S.[18] Ze względu na złe doświadczenie z Haguem, zespół nagrał płytę w drodze negacji, odmawiając wplecenia kalek z muzyki rokowej takich jak sola gitarowe czy popularne włówczas syntezatory, aby nadać muzyce aczasowe brzmienie.[19] Nagrany album, Murmur, został ciepło przyjęty przez krytykę; magazyn Rolling Stone wybrał go płytą roku 1983.[20] Album osiągnął 36 miejsce na liście Billboard 200[21] Nagrana po raz kolejny wersja "Radio Free Europe" została wybrana jako singiel osiągając 78 miejsce na liście singli magazynynu Billboard w roku 1983.[22] Murmur został sprzedany w 200,000 egzemparzach; wynik został uznany przez I.R.S. jako niespełniający oczekiwań.[23]
W październiku 1983 R.E.M. po raz pierwszy pojawił się w telewizji w programie Late Night with David Letterman.[24] Zespół zagrał wtedy nową, nienazwaną wówczas piosenkę.[25] Utwór nosi tytuł "So. Central Rain (I'm Sorry)", i był singlem z drugiej płyty R.E.M., Reckoning (1984), nagranej z Easterem i Dixonem. Album znalazł uznanie krytyki.[26].
Trzecia płyta zespołu, Fables of the Reconstruction (1985), wskazywała na zmianę dotychczasowego stylu. Zamiast Dixona i Eastera, R.E.M. wybrało Joe Boyda, który pracował wcześniej z Fairport Convention i Nickiem Drakem. Odbywające się w Anglii sesje nagraniowe okazały się dla członków zespołu zaskakująco trudne ze względu na zimę i nieodpowiadającą im kuchnię;[27] zespół był na granicy rozpadu.[28] Posępność otaczająca sesje stworzyła kontekst dla albumu. Teksty Stipea nawiązywały do stylistyki południowej powieści gotyckiej, który stwierdził w wywiadzie z roku 1985, że były one inspirowane "zwyczajem starszych ludzi siedzących wokół ogniska, przekazujących ... baśnie i legendy wnukom".[29] Fables of the Reconstruction stał się najlepiej sprzedającym się albumem I.R.S. w tamtym czasie w USA. Nie zyskał on jednak takiego uznania w Europie, recenzje krytyków były mieszane, zwracano uwagę na złą jakość nagrania i jego ponury nastrój.[30] Tak jak w przypadku poprzednich albumów, single z Fables of the Reconstruction zostały zignorowane przez duże stacje radiowe.
Do pracy nad czwartym albumem R.E.M. zaangażowało Dona Gehmana, producenta Johna Mellencampa. W rezultacie na albumie Lifes Rich Pageant śpiew Stipea został wyeksponowany.W 1986 roku w wywiadzie dla Chicago Tribune, Peter Buck mówił: "Michael jest coraz lepszy w tym, co robi i nabiera więcej pewności siebie. I myślę, że to widoczne w jego sposbie śpiewania"[31] Płyta sprzedawała się lepiej niż Fables of the Reconstruction, znalazła się nawet na 2q. miejscu listy Bilboardu. Singiel "Fall on Me" pojawiał się w komercyjnych stacjach radiowych.[32] Lifes Rich Pageant jako pierwszy album zespołu osiągnął status złotej płyty; sprzedano ponad 500,000 egzemplarzy.[33] Radio akademicke nadal stanowiło główną podporę R.E.M., ale utwory zespołu zaczęły się przebijać na listy przebojów stacji radiowych prezentujących muzykę rockową głównego nurtu.[34] Po sukcesie Lifes Rich Pageant, I.R.S. wydało Dead Letter Office, składankę z utworami nagranymi w trakcie sesji studyjnych, z których wiele stanowiło strony B singli lub nie były wydane. Niedługo potem I.R.S. wydało wszystkie poza "Wolves, Lower", teledyski zespołu jako wideo Succumbs.
Sukces: 1987–1993
Don Gehman nie mógl zostać producentem kolejnego albumu R.E.M., więc zasugerował zespołowi współpracę ze Scottem Littem.[35] Litt zostanie producentem kolejnych pięciu płyt zespołu. Document (1987) zawierał otwarcie zaangażowane politycznie teksty, zwłaszcza "Welcome to the Occupation" i "Exhuming McCarthy", które krytykowały rozwój konserwatyzmu w Stanach Zjednoczonych za prezydentury Ronalda Reagana.[36] Jon Pareles z The New York Times napisał w recenzji płyty, "Szablon:'DocumentSzablon:' jest jednocześnie pewny i buntowniczy; jeśli R.E.M. jest na drodze do zmiany statusu zepołu kultowego na masową popularność, album stanowi deklarację, iż zespół pokona tą drogę na swoich własnych warunkach"[37] Document był albumem przełomowym dla R.E.M., pierwszy singiel The One I Love znalazł się w pierszej dwudziestce list przebojów w USA, Wielkiej Brytanii i Kanadzie.[21] By January 1988, Document had become the group's first album to sell a million copies.[38]
Ze względu na niewuystarczające zdaniem zespołu zaangażowanie I.R.S. w sprzedaż płyt poza USA, R.E.M. po wygaśnięciu dotychczasowego kontraktu podpisało nowy z wytwórnią Warner Bros. Records.[39] In 1988, I.R.S. wydało jeszcze składankę Eponymous, która zawierała wszystkie single zespołu i kilka niepublikowanych wcześniej wersji nagrań. Pierwsza płyta nagrana dla nowej wytwórni, Green (1988), została nagrana w Nashville, Tennessee, i prezentowala zespół eksperynmentujący ze swoim brzmieniem.[40] Nagrania prezentowały różnorodny styl, od optymistycznego pierwszego singla Stand (przebój w USA),[41] po bardziej zaangażowane politycznie, rockowe "Orange Crush" "World Leader Pretend", które odnosiły się do wojny wietnamskiej and the [[Zimna wojna|Zimnej wojny].[42] Green został sprzedany w 4 milionach egzemplarzy na całym świecie.[43] Trasa koncertowa promująca album była największą i najlepiej wizualnie dopracowaną na ówczesnym etapie rozwoju zespołu, z projekcją wideo i krótkimi filmami wyświetlanymi na ekranie za sceną.[44] Po zakończeniu trasy zespół podjął nieoficjalną decyzję o rocznym zawieszeniu działalności, co było pierwszą dłuższą przerwą od powstania R.E.M.[45] Wydany został album wideo Tourfilm (1990) podsumowujący trasę "Green World Tour" i kompilacja wideo Pop Screen zawierająca teledyski do piosenek z Document i Green.
R.E.M. reconvened in mid-1990 to record its seventh album, Out of Time. In a departure from Green, the band members often wrote the music with non-traditional rock instrumentation including mandolin, organ, and acoustic guitar instead of adding them as overdubs later in the creative process.[46] Released in March 1991, Out of Time was the band's first album to top both the US and UK charts.[21] The record eventually sold 4.2 million copies in the US alone,[47] and about 12 million copies worldwide by 1996.[43] The album's lead single "Losing My Religion" was a worldwide hit that received heavy rotation on radio, as did the music video on MTV.[48] "Losing My Religion" was R.E.M.'s highest-charting single in the US, reaching number four on the Billboard charts.[21] "There've been very few life-changing events in our career because our career has been so gradual," Mills said years later. "If you want to talk about life changing, I think 'Losing My Religion' is the closest it gets".[49] The album's second single, "Shiny Happy People" (one of three songs on the record to feature vocals from Kate Pierson of fellow Athens band The B-52's), was also a major hit, reaching number 10 in the US and number six in the UK.[21] Out of Time garnered R.E.M. seven nominations at the 1992 Grammy Awards, the most nominations of any artist that year. The band won three awards: one for Best Alternative Music Album and two for "Losing My Religion", Best Short Form Music Video and Best Pop Performance by a Duo or Group with Vocal.[50] R.E.M. did not tour to promote Out of Time; instead the group played a series of one-off shows, including an appearance taped for an episode of MTV Unplugged[51] and released music videos for each song on the video album This Film Is On.
After spending some months off, R.E.M. returned to the studio in 1991 to record its next album. Late in 1992, the band released Automatic for the People. Though the group had intended to make a harder-rocking album after the softer textures of Out of Time,[52] the somber Automatic for the People "[seemed] to move at an even more agonized crawl", according to Melody Maker.[53] The album dealt with themes of loss and mourning inspired by "that sense of ... turning thirty", according to Buck.[54] Several songs featured string arrangements by former Led Zeppelin bassist John Paul Jones. Considered by a number of critics (as well as by Buck and Mills) to be the band's best album,[55] Automatic for the People reached numbers one and two on UK and US charts, respectively, and generated the American Top 40 hit singles "Drive", "Man on the Moon", and "Everybody Hurts".[21] The album would sell about ten million copies worldwide.[43] As with Out of Time, there was no tour in support of the album. The decision to forgo a tour, in conjunction with Stipe's physical appearance, generated rumors that the singer was dying or HIV-positive, which were vehemently denied by the band.[53]
Monster i New Adventures in Hi-Fi: 1994–1996
After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, "a 'rock' record, with the rock in quotation marks." In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock.[56] Like Out of Time, Monster topped the charts in both the US and UK.[21] The record sold about nine million copies worldwide.[43] The singles "What's the Frequency, Kenneth?" and "Bang and Blame" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts.[21] Warner Bros. assembled their music videos from Automatic for the People and Monster for release as Parallel in 1995.
In January 1995 R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group.[57] On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster Tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia.[58] Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album.[59] Performances from the tour would be released in home video form as Road Movie.
R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million, the largest recording contract in history at that point.[60] The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK.[21] The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years.[61] Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole.[62] That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens.[63] The group's lawyer, Bertis Downs, assumed managerial duties.[64]
Odejście Berry'ego, Up: 1997–2000
In April 1997, the band convened at Buck's Kauai holiday home to record demos of material intended for the next album. The band sought to reinvent its sound and intended to incorporate drum loops and percussion experiments.[65] Just as the sessions were due to begin in October, Berry decided, after months of contemplation and discussions with Downs and Mills, to tell the rest of the band that he was quitting.[66] Berry told his band mates that he would not quit if they would break up as a result, so Stipe, Mills, and Buck agreed to carry on as a three-piece with his blessing.[67] Berry publicly announced his departure three weeks later in October 1997. Berry told the press, "I'm just not as enthusiastic as I have been in the past about doing this anymore . . . I have the best job in the world. But I'm kind of ready to sit back and reflect and maybe not be a pop star anymore."[65] Stipe admitted that the band would be different without a major contributor: "For me, Mike, and Peter, as R.E.M., are we still R.E.M.? I guess a three-legged dog is still a dog. It just has to learn to run differently."[67]
The band canceled its scheduled recording sessions as a result of Berry's departure. "Without Bill it was different, confusing", Mills later said. "We didn't know exactly what to do. We couldn't rehearse without a drummer."[68] The remaining members of R.E.M. resumed work on the album in February 1998 at Toast Studios in San Francisco.[69] The band ended its decade-long collaboration with Scott Litt and hired Pat McCarthy to produce the record. Nigel Godrich was taken on as assistant producer, and drafted in ex-Screaming Trees member Barrett Martin and Beck's touring drummer Joey Waronker. The recording process was plagued with tension, and the group came close to disbanding. Bertis Downs called an emergency meeting where the band members sorted out their problems and agreed to continue as a group.[70] Led off by the single "Daysleeper", Up (1998) debuted in the top ten in the US and UK. However, the album was a relative failure, selling 900,000 copies in the US by mid-1999 and eventually selling just over two million copies worldwide.[47] While R.E.M.'s American sales were declining, the group's commercial base was shifting to the UK, where more R.E.M. records were sold per capita than any other country and the band's singles regularly entered the Top 20.[71]
A year after UpSzablon:'s release, R.E.M. wrote the instrumental score to the Andy Kaufman biographical film Man on the Moon, a first for the group. The film took its title from the Automatic for the People song of the same name.[72] The song "The Great Beyond" was released as a single from the Man on the Moon soundtrack album. "The Great Beyond" only reached number 57 on the American pop charts, but was the band's highest-charting single ever in the UK, reaching number three in 2000.[21]
Reveal i Around the Sun: 2001–2005
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R.E.M. recorded the majority of its twelfth album Reveal (2001) in Canada and Ireland from May to October 2000.[73] Reveal shared the "lugubrious pace" of Up,[74] and featured drumming by Joey Waronker, as well as contributions by Scott McCaughey (a co-founder of the band The Minus 5 with Buck) and Posies founder Ken Stringfellow. Global sales of the album were over four million, but in the United States Reveal sold about the same number of copies as Up.[75] The album was led by the single "Imitation of Life", which reached number six in the UK.[76] Writing for Rock's Backpages, The Rev. Al Friston described the album as "loaded with golden loveliness at every twist and turn", in comparison to the group's "essentially unconvincing work on New Adventures in Hi-Fi and Up."[77] Similarly, Rob Sheffield of Rolling Stone called Reveal "a spiritual renewal rooted in a musical one" and praised its "ceaselessly astonishing beauty."[78]
In 2003, Warner Bros. released the compilation albums In Time: The Best of R.E.M. 1988–2003 and In View: The Best of R.E.M. 1988–2003, which featured two new songs, "Bad Day" and "Animal". At a 2003 concert in Raleigh, North Carolina, Berry made a surprise appearance, performing backing vocals on "Radio Free Europe". He then sat behind the drum kit for a performance of the early R.E.M. song "Permanent Vacation", marking his first performance with the band since his retirement.[79]
R.E.M. released Around the Sun in 2004. During production of the album in 2002, Stipe said, "[The album] sounds like it's taking off from the last couple of records into unchartered R.E.M. territory. Kind of primitive and howling".[80] After the album's release, Mills said, "I think, honestly, it turned out a little slower than we intended for it to, just in terms of the overall speed of songs."[81] Around the Sun received a mixed critical reception, and peaked at number 13 on the Billboard charts.[82] The first single from the album, "Leaving New York", was a Top 5 hit in the UK.[83] For the record and subsequent tour, the band hired a new full-time touring drummer, Bill Rieflin, who had previously been a member of several industrial music acts such as Ministry and Pigface.[84] The video album Perfect Square was released that same year.
Accelerate, Collapse into Now i rozpad: 2006–2011
EMI released a compilation album covering R.E.M.'s work during its tenure on I.R.S. in 2006 called And I Feel Fine... The Best of the I.R.S. Years 1982–1987 along with the video album When the Light Is Mine: The Best of the I.R.S. Years 1982–1987—the label had previously released the compilations The Best of R.E.M. (1992), R.E.M.: Singles Collected (1994), and R.E.M.: In the Attic – Alternative Recordings 1985–1989 (1997). That same month, all four original band members performed during the ceremony for their induction into the Georgia Music Hall of Fame.[85] While rehearsing for the ceremony, the band recorded a cover of John Lennon's "#9 Dream" for Instant Karma: The Amnesty International Campaign to Save Darfur, a tribute album benefiting Amnesty International.[86] The song—released as a single for the album and the campaign—featured Bill Berry's first studio recording with the band since his departure almost a decade earlier.[87] In October 2006, R.E.M. was nominated for induction into the Rock and Roll Hall of Fame in its first year of eligibility.[88] The band was one of five nominees accepted into the Hall that year, and the induction ceremony took place in March 2007 at New York's Waldorf-Astoria Hotel. The group—which was inducted by Pearl Jam lead singer Eddie Vedder—performed four songs with Bill Berry.[89]
Work on the group's fourteenth album commenced in early 2007. The band recorded with producer Jacknife Lee in Vancouver and Dublin, where it played five nights in the Olympia Theatre between June 30 and July 5 as part of a "working rehearsal".[90] R.E.M. Live, the band's first live album (featuring songs from a 2005 Dublin show), was released in October 2007.[91] The group followed this with the 2009 live album Live at The Olympia, which features performances from its 2007 residency. R.E.M. released Accelerate in early 2008. The album debuted at number two on the Billboard charts,[92] and became the band's eighth album to top the British album charts.[93] Rolling Stone reviewer David Fricke considered Accelerate an improvement over the band's previous post-Berry albums, calling it "one of the best records R.E.M. have ever made."[94]
In 2010, R.E.M. released the video album R.E.M. Live from Austin, TX—a concert recorded for Austin City Limits in 2008. The group recorded its fifteenth album, Collapse into Now (2011), with Jacknife Lee in locales including Berlin, Nashville, and New Orleans. For the album, the band aimed for a more expansive sound than the intentionally short and speedy approach implemented on Accelerate.[95] The album debuted at number five on the Billboard 200, becoming the group's tenth album to reach the top ten of the chart.[96] This release fulfilled R.E.M.'s contractual obligations to Warner Bros., and the band began recording material without a contract a few months later with the possible intention of self-releasing the work.[97]
On September 21, 2011, the band announced via its website that it was "calling it a day as a band". Stipe said that he hoped the band's fans realized it "wasn't an easy decision": "All things must end, and we wanted to do it right, to do it our way."[2] Long-time associate and former Warner Bros. Senior Vice President of Emerging Technology Ethan Kaplan has speculated that shake-ups at the record label influenced the group's decision to disband.[98] The group discussed breaking up for several years, but was encouraged to continue after the lackluster critical and commercial performance of Around the Sun; according to Mills, "We needed to prove, not only to our fans and critics but to ourselves, that we could still make great records."[99] The band members finished their collaboration by assembling the compilation album Part Lies, Part Heart, Part Truth, Part Garbage 1982–2011, which was released in November 2011. The album is the first to collect songs from R.E.M.'s I.R.S. and Warner Bros. tenures, as well as three songs from the group's final studio recordings from post-Collapse into Now sessions.[100] In November, Mills and Stipe did a brief span of promotional appearances in British media, ruling out the option of the group ever reuniting.[101]
Musical style
OdsłuchajIn a 1988 interview, Peter Buck described typical R.E.M. songs as, "Minor key, mid-tempo, enigmatic, semi-folk-rock-balladish things. That's what everyone thinks and to a certain degree, that's true."[102] All songwriting is credited to the entire band, even though individual members are sometimes responsible for writing the majority of a particular song.[103] Each member is given an equal vote in the songwriting process; however, Buck has conceded that Stipe, as the band's lyricist, can rarely be persuaded to follow an idea he does not favor.[53] Among the original line-up, there were divisions of labor in the songwriting process: Stipe would write lyrics and devise melodies, Buck would edge the band in new musical directions, and Mills and Berry would fine-tune the compositions due to their greater musical experience.[104]
Michael Stipe sings in what R.E.M. biographer David Buckley described as "wailing, keening, arching vocal figures".[105] Stipe often harmonizes with Mills in songs; in the chorus for "Stand", Mills and Stipe alternate singing lyrics, creating a dialogue.[106] Early articles about the band focused on Stipe's singing style (described as "mumbling" by The Washington Post), which often rendered his lyrics indecipherable.[107] Creem writer John Morthland wrote in his review of Murmur, "I still have no idea what these songs are about, because neither me nor anyone else I know has ever been able to discern R.E.M.'s lyrics."[108] Stipe commented in 1984, "It's just the way I sing. If I tried to control it, it would be pretty false."[109] Producer Joe Boyd convinced Stipe to begin singing more clearly during the recording of Fables of the Reconstruction.[110]
Stipe insisted that many of his early lyrics were "nonsense", saying in a 1994 online chat, "You all know there aren't words, per se, to a lot of the early stuff. I can't even remember them." In truth, Stipe carefully crafted the lyrics to many early R.E.M. songs.[111] Stipe explained in 1984 that when he started writing lyrics they were like "simple pictures", but after a year he grew tired of the approach and "started experimenting with lyrics that didn't make exact linear sense, and it's just gone from there."[109] In the mid-1980s, as Stipe's pronunciation while singing became clearer, the band decided that its lyrics should convey ideas on a more literal level.[112] Mills explained, "After you've made three records and you've written several songs and they've gotten better and better lyrically the next step would be to have somebody question you and say, are you saying anything? And Michael had the confidence at that point to say yes . . ."[113] Songs like "Cuyahoga" and "Fall on Me" on Lifes Rich Pageant dealt with such concerns as pollution.[114] Stipe incorporated more politically-oriented concerns into his lyrics on Document and Green. "Our political activism and the content of the songs was just a reaction to where we were, and what we were surrounded by, which was just abject horror," Stipe said later. "In 1987 and '88 there was nothing to do but be active."[115] Stipe has since explored other lyrical topics. Automatic for the People dealt with "mortality and dying. Pretty turgid stuff", according to Stipe,[116] while Monster critiqued love and mass culture.[115]
Peter Buck's style of playing guitar has been singled out by many as the most distinctive aspect of R.E.M.'s music. During the 1980s, Buck's "economical, arpeggiated, poetic" style reminded British music journalists of 1960s American folk rock band The Byrds.[117] Buck has stated "[Byrds guitarist] Roger McGuinn was a big influence on me as a guitar player",[118] but said it was Byrds-influenced bands, including Big Star and The Soft Boys, that inspired him more.[119] Comparisons were also made with the guitar playing of Johnny Marr of alternative rock contemporaries The Smiths. While Buck professed being a fan of the group, he admitted he initially criticized the band simply because he was tired of fans asking him if he was influenced by Marr,[103] whose band had in fact made their debut after R.E.M.[119] Buck generally eschews guitar solos; he explained in 2002, "I know that when guitarists rip into this hot solo, people go nuts, but I don't write songs that suit that, and I am not interested in that. I can do it if I have to, but I don't like it."[120] Mike Mills' melodic approach to bass playing is inspired by Paul McCartney of The Beatles and Chris Squire of Yes; Mills has said, "I always played a melodic bass, like a piano bass in some ways . . . I never wanted to play the traditional locked into the kick drum, root note bass work."[121] Mills has more musical training than his band mates, which he has said "made it easier to turn abstract musical ideas into reality."[118]
Legacy
R.E.M. was pivotal in the creation and development of the alternative rock genre. Allmusic stated, "R.E.M. mark the point when Post punk turned into alternative rock."[7] In the early 1980s, the musical style of R.E.M. stood in contrast to the post-punk and New Wave genres that had preceded it. Music journalist Simon Reynolds noted that the post-punk movement of the late 1970s and early 1980s "had taken whole swaths of music off the menu", particularly that of the 1960s, and that "After postpunk's demystification and New Pop's schematics, it felt liberating to listen to music rooted in mystical awe and blissed-out surrender." Reynolds declared R.E.M., a band that recalled the music of the 1960s with its "plangent guitar chimes and folk-styled vocals" and who "wistfully and abstractly conjured visions and new frontiers for America", one of "the two most important alt-rock bands of the day."[122] With the release of Murmur, R.E.M. had the most impact musically and commercially of the developing alternative genre's early groups, leaving in its wake a number of jangle pop followers.[123]
R.E.M.'s early breakthrough success served as an inspiration for other alternative bands. Spin referred to the "R.E.M. model"—career decisions that R.E.M. made which set guidelines for other underground artists to follow in their own careers. Spin's Charles Aaron wrote that by 1985, "They'd shown how far an underground, punk-inspired rock band could go within the industry without whoring out its artistic integrity in any obvious way. They'd figured out how to buy in, not sellout-in other words, they'd achieved the American Bohemian Dream."[124] Steve Wynn of Dream Syndicate said, "They invented a whole new ballgame for all of the other bands to follow whether it was Sonic Youth or the Replacements or Nirvana or Butthole Surfers. R.E.M. staked the claim. Musically, the bands did different things, but R.E.M. was first to show us you can be big and still be cool."[125] Biographer David Buckley stated that between 1991 and 1994, a period that saw the band sell an estimated 30 million albums, R.E.M. "asserted themselves as rivals to U2 for the title of biggest rock band in the world."[126] Over the course of its career, the band has sold over 70 million records.[85]
Later alternative bands such as Nirvana, Pavement, and Live have drawn inspiration from R.E.M.'s music. "When I was 15 years old in Richmond, Virginia, they were a very important part of my life," Pavement's Bob Nastanovich said, "as they were for all the members of our band." Pavement devoted the song "Unseen Power of the Picket Fence" from the No Alternative compilation (1993) to discussing R.E.M's first two albums at length.[127] Kurt Cobain of Nirvana was a vocal fan of R.E.M., and had plans to collaborate on a musical project with Stipe before his death in April 1994.[128] Cobain told Rolling Stone in an interview earlier that year, "I don’t know how that band does what they do. God, they’re the greatest. They’ve dealt with their success like saints, and they keep delivering great music."[129]
Campaigning and activism
Throughout R.E.M.'s career, its members sought to highlight social and political issues. According to the Los Angeles Times, R.E.M. was considered to be one of the United States' "most liberal and politically correct rock groups."[130] The band's members were "on the same page" politically, sharing a liberal and progressive outlook.[131] Mills admitted that there was occasionally dissension between band members on what causes they might support, but acknowledged "Out of respect for the people who disagree, those discussions tend to stay in-house, just because we'd rather not let people know where the divisions lie, so people can't exploit them for their own purposes." An example is that in 1990 Buck noted that Stipe was involved with People for the Ethical Treatment of Animals, but the rest of the band were not.[132]
R.E.M. helped raise funds for environmental, feminist and human rights causes, and were involved in campaigns to encourage voter registration. During the Green tour, Stipe took time during sets to inform the audience about a variety of pressing socio-political issues.[133] Through the late 1980s and 1990s, the band (particularly Stipe) increasingly used its media coverage on national television to mention a variety of causes it felt were important. One example is when the band attended the 1991 MTV Video Music Awards, during which Stipe wore a half-dozen white shirts emblazoned with slogans including "rainforest", "love knows no colors", and "handgun control now".[134] R.E.M. helped raise awareness of Aung San Suu Kyi and human rights violations in Burma, when they worked with the Freedom Campaign and the US Campaign for Burma.[135] Stipe himself ran ads for the 1988 supporting Democratic presidential candidate and Massachusetts governor Michael Dukakis over then-Vice President George H. W. Bush.[136] In 2004, the band participated in the Vote for Change tour that sought to mobilize American voters to support Democratic presidential candidate John Kerry.[137] R.E.M.'s political stance, particularly coming from a wealthy rock band under contract to a label owned by a multinational corporation, received criticism from former Q editor Paul Du Noyer, who criticized the band's "celebrity liberalism", saying, "It's an entirely pain-free form of rebellion that they're adopting. There's no risk involved in it whatsoever, but quite a bit of shoring up of customer loyalty."[138]
From the late 1980s, R.E.M. was involved in the local politics of its hometown of Athens, Georgia.[139] Buck explained to Sounds in 1987, "Michael always says think local and act local—we have been doing a lot of stuff in our town to try and make it a better place."[140] The band often donated funds to local charities and to help renovate and preserve historic buildings in the town.[141] R.E.M.'s political clout was credited with the narrow election of Athens mayor Gwen O'Looney twice in the 1990s.[142]
Dyskografia
Albumy studyjne
- Murmur (1983)
- Reckoning (1984)
- Fables of the Reconstruction (1985)
- Lifes Rich Pageant (1986)
- Document (1987)
- Green (1988)
- Out of Time (1991)
- Automatic for the People (1992)
- Monster (1994)
- New Adventures in Hi-Fi (1996)
- Up (1998)
- Reveal (2001)
- Around the Sun (2004)
- Accelerate (2008)
- Collapse into Now (2011)
Kompilacje
- Dead Letter Office (1987)
- Eponymous (1988)
- Singles Collected (1994)
- In the Attic (1997)
- In Time: The Best of R.E.M. 1988-2003 (2003)
- And I Feel Fine ... The Best of the I.R.S. Years 1982-1987 (2006)
- Part Lies Part Heart Part Truth Part Garbage 1982-2011 (2011)
League table
Szablon:2013–14 Premier League table
Results
| Gospodarz \ Gość | ARS | AST | CDC | CHE | CRY | EVE | FUL | HUL | LFC | MNC | MNU | NEW | NOR | SOT | STK | SUN | SWA | TOT | WBA | WHU |
| Arsenal | 1:3 | 2:0 | 0:0 | 2:0 | 1:1 | 2:0 | 2:0 | 2:0 | 1:1 | 0:0 | 4:1 | 2:0 | 3:1 | 4:1 | 2:2 | 1:0 | ||||
| Aston Villa | 1:2 | 2:0 | 1:0 | 0:1 | 0:2 | 1:2 | 0:1 | 3:2 | 0:3 | 1:2 | 4:1 | 1:4 | 0:0 | 1:1 | 0:2 | 4:3 | 0:2 | |||
| Cardiff City | 0:3 | 0:0 | 0:3 | 0:0 | 3:1 | 0:4 | 3:6 | 3:2 | 2:2 | 1:2 | 2:1 | 0:3 | 2:2 | 1:0 | 0:1 | 1:0 | 0:2 | |||
| Chelsea | 6:0 | 2:1 | 4:1 | 2:1 | 1:0 | 2:0 | 2:0 | 2:1 | 2:1 | 3:1 | 3:0 | 3:1 | 3:0 | 1:0 | 4:0 | 2:2 | 0:0 | |||
| Crystal Palace | 0:2 | 2:0 | 1:0 | 0:0 | 1:4 | 1:0 | 0:2 | 0:3 | 1:1 | 0:1 | 1:0 | 3:1 | 0:2 | 0:1 | 3:1 | 1:0 | ||||
| Everton | 3:0 | 2:1 | 2:1 | 1:0 | 4:1 | 2:1 | 3:3 | 3:2 | 2:0 | 2:1 | 4:0 | 0:1 | 3:2 | 0:0 | 0:0 | 1:0 | ||||
| Fulham | 1:3 | 2:0 | 1:2 | 1:3 | 1:3 | 2:3 | 2:4 | 1:3 | 1:0 | 0:3 | 1:0 | 1:4 | 1:2 | 1:2 | 1:1 | 2:1 | ||||
| Hull City | 0:0 | 1:1 | 0:2 | 0:1 | 6:0 | 3:1 | 0:2 | 2:3 | 1:4 | 1:0 | 0:1 | 0:0 | 1:0 | 1:0 | 1:1 | 2:0 | 1:0 | |||
| Liverpool | 5:1 | 2:2 | 3:1 | a | 3:1 | 4:0 | 4:0 | 2:0 | 1:0 | 5:1 | 0:1 | 1:0 | 2:1 | 4:3 | 4:0 | 4:1 | 4:1 | |||
| Manchester City | 6:3 | 4:2 | 0:1 | 1:0 | 3:1 | 5:0 | 2:0 | 2:1 | 4:1 | 4:0 | 7:0 | 4:1 | 1:0 | 3:0 | 6:0 | |||||
| Manchester United | 1:0 | 4:1 | 2:0 | 0:0 | 2:0 | 0:1 | 2:2 | 0:3 | 0:3 | 0:1 | 1:1 | 3:2 | 2:0 | 1:2 | 1:2 | 3:1 | ||||
| Newcastle United | 0:1 | 1:0 | 2:0 | 1:0 | 0:3 | 1:0 | 2:3 | 2:2 | 0:2 | 0:4 | 2:1 | 1:1 | 5:1 | 0:3 | 0:4 | 2:1 | 0:0 | |||
| Norwich City | 0:1 | 0:0 | 1:3 | 1:0 | 2:2 | 1:2 | 1:0 | 0:0 | 0:1 | 0:0 | 1:0 | 1:1 | 2:0 | 1:1 | 1:0 | 0:1 | 3:1 | |||
| Southampton | 2:2 | 2:3 | 0:3 | 2:0 | 2:0 | 4:1 | 0:3 | 1:1 | 4:0 | 4:2 | 2:2 | 1:1 | 2:0 | 2:3 | 1:0 | 0:0 | ||||
| Stoke City | 1:0 | 2:1 | 0:0 | 3:2 | 2:1 | 1:1 | 1:0 | 3:5 | 0:0 | 2:1 | 0:1 | 1:1 | 2:0 | 1:1 | 0:0 | 3:1 | ||||
| Sunderland | 1:3 | 0:1 | 3:4 | 0:0 | 0:1 | 0:2 | 1:3 | 1:0 | 1:2 | 2:1 | 0:0 | 2:2 | 1:0 | 1:2 | 1:2 | |||||
| Swansea City | 1:2 | 3:0 | 1:1 | 1:2 | 2:0 | 1:1 | 2:2 | 2:3 | 1:4 | 3:0 | 3:0 | 3:3 | 4:0 | 1:3 | 1:2 | 0:0 | ||||
| Tottenham Hotspur | 0:1 | 1:0 | 1:1 | 2:0 | 1:0 | 1:0 | 0:5 | 1:5 | 2:2 | 0:1 | 2:0 | 3:2 | 3:0 | 1:0 | 1:1 | 0:3 | ||||
| West Bromwich Albion | 1:1 | 2:2 | 3:3 | 1:1 | 2:0 | 1:1 | 1:1 | 1:1 | 1:1 | 2:3 | 0:3 | 1:0 | 0:2 | 0:1 | 3:0 | 0:2 | ||||
| West Ham United | 1:3 | 0:0 | 2:0 | 0:3 | 2:3 | 3:0 | 2:1 | 1:2 | 1:3 | 0:2 | 1:3 | 2:0 | 3:1 | 0:1 | 0:0 | 2:0 | 3:3 |
Aktualne na 6 April 2014. Źródło: Premier League
Objaśnienia:
1Drużyna gospodarzy jest wymieniona po lewej stronie tabeli.
Kolory: zielony – zwycięstwo gospodarzy, żółty – remis, różowy – zwycięstwo gości.
EP
Bilbliografia
- Black, Johnny. Reveal: The Story of R.E.M. Backbeat, 2004. ISBN 0-87930-776-5
- Buckley, David. R.E.M.: Fiction: An Alternative Biography. Virgin, 2002. ISBN 1-85227-927-3
- Gray, Marcus. It Crawled from the South: An R.E.M. Companion. Da Capo, 1997. Second edition. ISBN 0-306-80751-3
- Fletcher, Tony. Remarks Remade: The Story of R.E.M. Omnibus, 2002. ISBN 0-7119-9113-8.
- Platt, John (editor). The R.E.M. Companion: Two Decades of Commentary. Schirmer, 1998. ISBN 0-02-864935-4
- Sullivan, Denise. Talk About the Passion: R.E.M.: An Oral Biography. Underwood-Miller, 1994. ISBN 0-88733-184-X
- ↑ Rock 'n' Roll Hall of Fame Inductees 1986 - 2010. digitaldreamdoor.nutsie.com. [dostęp 2010-05-01]. (ang.).
- ↑ a b Hilton, Robin: R.E.M. Calls It A Day, Announces Breakup. [dostęp 2012-01-23]. (ang.).
- ↑ a b Gumprecht, Blake. "R.E.M.". Alternative America. Winter 1983.
- ↑ Holdship, Bill. "R.E.M.: Rock Reconstruction Getting There". Creem. September 1985.
- ↑ Buckley, p. 30
- ↑ Buckley, p. 39
- ↑ a b Erlewine, Stephen Thomas: [[[:Szablon:Allmusic]] R.E.M > Biography]. Allmusic.com. [dostęp December 3, 2010].
- ↑ Buckley, p. 41
- ↑ Buckley, p. 46
- ↑ Buckley, p. 53–54
- ↑ Sullivan, p. 27
- ↑ Gray, p. 497
- ↑ Buckley, p. 59
- ↑ Buckley, p. 61–63
- ↑ Buckley, p. 66–67
- ↑ Grabel, Richard. "Nightmare Town". NME. December 11, 1982.
- ↑ Buckley, p. 72
- ↑ Buckley, p. 78
- ↑ Buckley, p. 78–82
- ↑ Buckley, p. 73
- ↑ a b c d e f g h i j Buckley, p. 357–58
- ↑ "Radio Free Europe". Rolling Stone. December 9, 2004. Retrieved on September 21, 2011.
- ↑ Buckley, p. 95
- ↑ Gray, p. 432
- ↑ Gray, p. 434
- ↑ Snow, Mat. "American Paradise Regained: R.E.M.'s Reckoning". NME. 1984.
- ↑ Buckley, p. 131–32
- ↑ Buckley, p. 135
- ↑ "Interview with R.E.M.". Melody Maker. lipiec 15, 1985.
- ↑ Buckley, p. 140
- ↑ Popson, Tom. "Onward and Upward and Please Yourself". Chicago Tribune. October 17, 1986.
- ↑ Buckley, p. 151
- ↑ Fletcher, p. 142
- ↑ Buckley, p. 160
- ↑ Fletcher, p. 146
- ↑ De Muir, Harold. "There's No Reason It Shouldn't Be A Hit". East Coast Rocker. Lipiec, 1987.
- ↑ Pareles, Jon. = 9B0DEFD7143CF930A2575AC0A961948260 R.E.M. conjures dark times on 'Document'. „The New York Times”, 1987-09-13. [dostęp 2012-10-24].
- ↑ Fletcher, p. 157
- ↑ Buckley, p. 174
- ↑ Buckley, p. 179
- ↑ Buckley, p. 180
- ↑ Buckley, p. 183
- ↑ a b c d Fletcher, p. 296
- ↑ Buckley, p. 184
- ↑ Buckley, p. 198
- ↑ Buckley, p. 209
- ↑ a b Buckley, p. 287
- ↑ Buckley, p. 205
- ↑ Buckley, p. 204
- ↑ Pareles, Jon: = 9E0CE4D9133EF935A15751C0A964958260 Cole's 'Unforgettable' Sweeps the Grammys. [w:] The New York Times [on-line]. February 26, 1992. [dostęp December 30, 2007].
- ↑ Buckley, p. 213
- ↑ Buckley, p. 216
- ↑ a b c Fricke, David. "Living Up to Out of Time/Remote Control: Parts I and II". Melody Maker. October 3, 1992.
- ↑ Buckley, p. 218
- ↑ Buckley, p. 217
- ↑ Buckley, p. 236
- ↑ Buckley, p. 248
- ↑ Buckley, p. 251–55
- ↑ Buckley, p. 256
- ↑ Buckley, p. 258
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