Document
Average Customer Review:
Audio CD (05 October, 1999)
list price: $17.98
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Editorial Review

Singer Michael Stipe finally confesses that even he doesn't know what he's trying to say--among the lines flying by are "tryin' to tell you something we don't know" and "there's something going on that's not quite right." But R.E.M.'s roar is at its sharpest, as Peter Buck's guitars twist up surf riffs and the Bill Berry-Mike Mills rhythm section captures the force of forebears Big Star and the Byrds. After half a decade of college-rock heroism, R.E.M. achieved its first hit album thanks to the rambling "It's the End of the World As We Know It (And I Feel Fine)" and the gentle (but subtly barbed) "The One I Love." --Steve Knopper ... Read more

Features

• CD-single
• Original recording remastered

Reviews (84)

The scourge of Scott Litt begins
At the time of its release, I welcomed the clean production that Scott Litt brought to R.E.M.'s 5th album. It was the first time in a while that the band didn't sound muddy.

"The One I Love" was the first single and made it further up the charts than any previous R.E.M. song. I love this song, play it with my band at every show, often first because it is impossible to forget the words.

This album contains some of Peter Buck's best guitar solos, which over REM's history have tended to be brief and infrequent. "The One I Love" solo is classic Buck, with a little bit of southwestern kick. On the infectious "Strange" Buck lets out his loopiest solo yet. It sounds like a couple guitars overdubbed, but I've seen Buck pull it off by himself incredibly in concert. "Lightnin Hopkins" is loopy riffs all the way through.

Unfortunately, R.E.M. became infatuated with Scott Litt's production and stuck with him for at least the next ten years worth of albums. Then the scourge of his input became apparent: he makes R.E.M. sound toothless, too radio-friendly.

"The One I Love" is a good song, but listen to any bootleg recording of it that predates Document (they played it on the Lifes Rich Pagent tour). This song used to be a manic explosion, but now it's kind of a plaintive cry. From then on, every time I'd see REM play an unreleased song in concert, I'd be sorely disappointed by the lackluster version that would make it to the record (Undertow, The Great Beyond, etc.). REM's association with Litt also coincided with them leaving behind most of the Southern flavor that made them distinctive. Litt also started substituting drum machines for Bill Berry, which may have contributed to Bill leaving the band. Enjoy this R.E.M. album, the last one before they were spoiled by Litt and a big WB record contract.

Songs from my childhood.
It's hard for me to believe: I'm almost thirty now, and I wasn't even ten years old when this record came out. I remember hearing "It's the End of the World..." and "The One I Love" when I was in fourth and fifth grade, and being intrigued by the songs, but not knowing who the singers were. It wasn't until Green and "Stand" that I found out who R.E.M. was. And I've loved them ever since.

I listened to the whole album when I was nineteen, and I played it over and over again. This disc is a true masterpiece from beginning to end; all the songs form a cohesive whole, from "Finest Worksong" to "Welcome to the Occupation" to "Lightin' Hopkins."

These four men were some of the people who taught me how to listen to music. It was because of them that I went back and listened to the blues, to jazz, and to early rock and roll. No history of rock and roll or of American music would be complete without R.E.M.

A minor correction
Just a minor correction to the review submitted by David Zasloff -- the song Strange, although it may have been recorded by Pylon, was actually a cover of a song by WIRE, a post-punk late 70's / early 80's british band. :-)

By the way, REM's Document is a great album. "King of Birds" is a beautifully done, often underrated song.

Standing on the shoulders of giants... ... Read more

Asin: B00001R3GR
Subjects:  1. Pop    2. Rock   

In My Tribe
Average Customer Review:
Audio CD (25 October, 1990)
list price: $9.98 -- our price: $9.98
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Editorial Review

In My Tribe was 10,000 Maniacs' second (and best) album and the record that made the band collegiate favorites and singer/songwriter Natalie Merchant a star. Producer Peter Asher's rich balance of acoustic and electric instruments gave muscle to the group's folk-rock. "Hey Jack Kerouac" found Merchant musing on the literary beats of the 1950s, but the song's musical hook was the rich bed of rhythm guitars laid atop the solid drums. "Don't Talk" offered a similarly propulsive rock sound, with lyrics that advised troubled lovers to keep it to themselves. R.E.M. singer Michael Stipe offered hipster credibility by guesting on "A Campfire Song," while a cover of Cat Stevens's "Peace Train" offered listeners a familiar port of entry. However, when Muslim convert Stevens announced his support of Iranian leader Ayatollah Khomeini's call for the execution of Satanic Verses author Salman Rushdie, the band rereleased the album without "Peace Train." --John Milward ... Read more

Reviews (57)

A timeless classic
In My Tribe was released when I was five years old, most of the music I was listening to when I was five has aged, badly, I was listening to whatever was on the mainstream pop/rock stations and sadly in Australia anyway, 10,000 Maniacs was not a band that got airplay on such stations.

Cut to 2003 and I'm watching VH1, Natalie Merchant's "Carnival"comes on and I remember being 13 and staying up until midnight on a Sunday just to hear "Carnival" on Rick Dee's Top40 countdown. I was intrigued by Merchant in the video clip so I went online to see what I could find out about her, that is when I discovered the exixtence of 10,000 Maniacs, I came on here and decided that after listening to some audio samples and reading other reivews that In My Tribe was probably a good entry point to the music of 10,000 Maniacs.

Boy was I ever right, the album on first listen sounds both of it's time and timeless, Natalie's voice and lyrics are quite unlike anything I've ever heard before, every single song on the album is repeatedly listenable. To someone who had never heard thier music before it still sounded new, fresh and different. I could hear a little bit of every muscial style I had ever been exposed to in these songs, a beginners guide to music in under an hour.

The standout tracks, at least in my mind, are "Hey Jack Kerouac", "The Painted Desert" and "Verdi Cries".

One bloody good album
What can you say - if Mike Stipe gets to sing on a song, then it's got to be worth a listen.This one would get a 5 star rating if they had never released Our Time In Eden.

Stunning and beautiful vocals
When I originally bought this (at least 10-years ago) I was floored by "What's the matter here" I WAS that little boy. Back in the 60's that was just the way it was. I was the one that was black and blue and bruised all the time, hiding under the bed, running out side to get away from a Father that had major issues. To this day it is hard for me to listen to the song, but it also means very much to me. In some way's it brought closure, and in some ways it brought feelings and memories out that were and are deeply hidden. Natalie Merchant's vocals bring the emotion out in this and all her music. Verdi Cries, Like the weather and Don't talk are my other favorites on this CD. To me, this was a very powerful CD and Natalie Merchant's vocals are simply beautiful! ... Read more

Asin: B000002H4S
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Jangle Pop    4. Pop    5. Rock    6. Rock/Pop   

Kiss Me, Kiss Me, Kiss Me
Average Customer Review:
Audio CD (25 October, 1990)
list price: $18.98 -- our price: $14.99
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Editorial Review

Released in 1987, at the height of the compact-disc revolution, Kiss Me, Kiss Me, Kiss Me is the prototypical CD album. Cure architect Robert Smith knew that the newly popular format could handle almost twice as much music as records, and he wasn't about to waste the space. Unfortunately, many of Kiss Me's 17 tracks sound more like B-sides. The cream is certainly worth culling, however; "Catch," "How Beautiful You Are," and the alternative-rock staple "Just Like Heaven" are among the Cure's finest moments. "Hot Hot Hot!!!" and "Why Can't I Be You?" reveal that underneath all the dyed-black hair and glum stares lay a fervent dance band. Who knew? --Bill Crandall ... Read more

Reviews (81)

The Cure's most eclectic and adventurous album
While certainly not as good as "Disintegration" (the band's next album), nonetheless "Kiss Me Kiss Me Kiss Me" stands out as an adventurous album on which the listener never knows what to expect next.In that regard, it's alot of fun to listen to.The most recognizable track "Just Like Heaven," is one of those songs that bars play to keep people inside (like "American Pie" or "Baba O'Reilly").If you really think about it, the song is a similar but slightly improved version of "In Between Days," the opening track of "Head on the Door."At first one might think it's a straight forward song about romance, but the last stanza seems to suggest that poor Robert Smith is just fantasizing.(Fans of this song might be interested in hearing "All the Way" off of New Order's album "Technique" which basically sound like a carbon copy of "Just Like Heaven").

"How Beautiful You Are" tells a compelling story about Robert and his companion being approached by a gypsy man and his two children.While Robert feels guilty about all of his possessions, he is profoundly saddened and disappointed when his companion says "I hate these people staring, make them go away from me."Ouch!

Other favorites of mine on the album include "Icing Sugar" and "Shiver and Shake."Each song stands alone in its own little world, and perfectly creates the atmosphere of Smith's lyrics.

It is interesting to note that on the previous album "Head on the Door," Smith takes sole credit for both music and lyrics; here, all the band members are credited for the music.Also, in my opinion, instrumentally, "Kiss Me" and "Disintegration" represent the band at its peak.

CASI COMO EL CIELO...
Todavia no paro de entender a la gente que dice que este disco es una ensalada de estilos y por eso cualquier cosa.Me atreveria a creer que esa gente come basura, y se conmueve con cosas mas superficiales y livianas (o sea, sin sentido o sacandose cartel de que la tienen toda, caso el hip-hop de ahora o el new metal que es un asco).Hablando del Kiss Me, Kiss Me, Kiss Me atreveria a decirles a todos ustedes mis queridos, que es tremendo disco y muestra a los Cure en su mejor momento, demostrado por la gran cantidad de estilos que abarcan en esta placa (sino comparen Hot Hot Hot, Catch y Torture, solo por nombrar algunas) y tambien por las letras que como siempre tienen una nota aparte y colocan a nuestro Robertito Smith en el olimpo del Rockn'Roll como una figura mas (indiscutible).Para mi esta formacion de los Cure fue la mejor,y para mi aunque todo el mundo odie a Lol,incluido Mr. Smith,se hace notar en el disco y muestra lo buen musico que es (por algo estuvo desde el principio hasta este disco, ya que despues se marcho, o lo hecharon por problemas legales, de bebida y adiccion al juego).Despues de esto los Cure allanaron el camino para la obra de arte postuma que fue su siguiente placa (DISINTEGRATION) que los termino por consagrar.

An adventure
The Cure's "Kiss Me, Kiss Me, Kiss Me" (originally a double LP), is their version of the "The White Album". A lengthy, adventurous album with no underlying theme.

Thus, intense songs like "The Kiss" (a towering, nihlistic epic reminscent oftheir "Pornography"-era) sit side by side withdreamy songs like "Catch" (bittersweet pop fluff). Similarily, clamorous songs like "The Snakepit" (an acid sweep drenched in droning layers of guitar feedback) sit next to breezy songs like "Just Like Heaven" (blissful, lovestruck pop at its best).

Like "The White Album", the 'random' dynamic works. You never know what's coming around the corner. There's tons of moods on here.

The atmospheric "If Only Tonight We Could Sleep" is a chilling, eastern-tinged soundscape with a sitar and everything. "One More Time" is delicate and heartbreaking."The Perfect Girl" is carefree and bouncy (and extremely catchy). "Like Cockatoos" is just bizarre. "Hot Hot Hot!!!" takes a stab at funk (think Blood Sugar-era Red Hot Chili Peppers). And "Fight" is a powerful, anthematic closer.

Other highlights include the dark, tense pop of "How Beautiful You Are" and "All I Want", the lush ballad "A Thousand Hours" (a gorgeous song with piano, strings, etc.), the horn-driven "Why Can't I Be You?" (a fun, albeit dated sounding pop song), and "Icing Sugar' (which sounds like a "Pornography" outtake with a saxophone played over top).

Although it's not perfect, "Kiss Me" is The Cure's most diverse, sprawling album. It takes many listens to uncover everything; songs that seem dull at first may slowly become your favorites. Enjoy the adventure.

Best Songs: The Kiss, If Only Tonight, Fight, The Snakepit, All I Want, A Thousand Hours, Just Like Heaven, Catch. ... Read more

Asin: B000002H4Q
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Goth Rock    4. Pop    5. Post-Punk    6. Rock   

Strangeways, Here We Come
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98 -- our price: $10.99
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Reviews (55)

*MY* vote for their masterpiece
While the popular consensus is that The Queen Is Dead was their masterpiece, I tend to find Strangeways their finest studio achievement, which unfortunately was followed by the breakup of the band after the recording was complete (but before the album was released).How daring is it that the opening number, the great A Rush and a Push and the Land is Ours, contains not one bit of guitar?Or the overlooked masterpiece Death of a Disco Dancer, where the band fires on all cylinders and Morrissey delivers some of his wryest and best lyrics to date?Stop Me If You Think You've Heard This One Before is awesome, and if Last Night I Dreamed That Somebody Loved Me doesn't tug at your heart, from the eerie intro to the pleading performances from all 4 band members, then something is wrong with you.Bitterness and sadness drip from Unhappy Birthday, which is often overlooked in The Smiths' canon of work.Even the final track, I won't share you, which is simply Marr on autoharp and Morrissey singing with a little bass from Rourke, is pure perfection.As is the album (with the exception of one song, the lame Death At One's Elbow).

Magnificent in a word
If wrote nearly as well as these songs are composed I'd be able to express better my admiration for this work; this is thoughtful, soulful pop music as it was meant to be.
Oh yeah, and it KICKS.

Not As Obviously Brilliant As "The Queen Is Dead"
"Strangeways, Here We Come" brought an end to what is probably the most remarkable 4½-year, organically whole recording career in the history of popular music. The Smiths were wise to not try to follow up "The Queen Is Dead" with "Our Greatest Masterpiece, Part II".However, since they probably did not know that it was to be their last new album, "Strangeways" has the feel of a transitional record, much like "Meat Is Murder".But while
"Meat Is Murder" would have ended the band's career (not that it threatened to) with something of a whimper, "Strangeways" ends it with a bang.

The cliché of the "sophomore slump" has been too much of a reality for some artists .The Smiths managed to eschew this with "Hatful of Hallow", which, though it was more of a collection than a proper studio album, contained some of the the band's greatest material.Following what might be called a "junior slump", The Smiths delivered their masterpiece, "The Queen Is Dead".Havingleap-froged the sophomore slump, they were now back at square two, so to speak.Following up a masterpiece can be as arduous as delivering on the promise of a great debut.Although a masterpiece gives a band some room to maneuver, it also sets a high standard to live up to.This what The Smiths faced as they entered the studio for what was to be their final recording together.

"Strangeways" turned out to be a Janus-faced record.The band tried to move forward with more ornate production, but they generally ended up sounding better when they stuck to what had always worked for them.The longer and shorter songs sit comfortable among one another, even if the longer songs can feel too long at times."Girlfriend In A Coma" is a truly classic Smiths song, with its two minutes filled to the brim with every ounce of bitterness, love, and irony that Morrissey can muster.(And what better setting for a Smiths song than a hospital?)On the other hand, "Paint A Vulgar Picture", at 5 ½ minutes, is probably the most entertaining song on the CD.A swipe at the record industry's efforts to milk artists for all that they are worth, Moz still manages to splice in verses about how he has lost his true love. The song has also proven to be pretty ironic given the fact that The Smiths' own catalog has gone through extensive re-issuing and re-packaging, including several best of's and most of's.(Another swipe on the CD, "Death of a Disco Dancer", - featuring Moz on piano - is less effective than "Panic", the band's other swipe at the same subject.)

Among the other songs are the guitar-less "A Rush and a Push and the Land is Ours", which kicks of the disc with energy and aplomb, and expresses Morrissey's typical sentiments without crashing into caricature.(Note Morrissey's wonderful growling as well.) "I Started Something..." - in which Moz ruins a perfectly good friendship by saying "I love you" - "Stop Me..." - in which he gets beat up on the way to meet someone he loves - and the string-laden "Last Night I Dreamt..." are also bona fide Smiths classics.Meanwhile, "Unhappy Birthday" and "I Won't Share You" are smaller but equally valuable gems, and "Death At One's Elbow" is a nice slice of Smiths-style rockabilly.

On the whole, The Smiths may have slipped a bit from "The Queen Is Dead" on their final album, but they had plenty of room to do so.They still ended up with a brilliant record.It was wise and brave of the band to challenge themselves, even if the best songs on "Strangeways" are not necessarily the result of this. Moreover, it was clear from this album that the break-up was not due to the creative well running dry, but rather, to the personal and creative differences between Morrissey and Marr. (I have heard one interpretation of "I Won't Share You" to be Morrissey's way of telling Marr that he didn't appreciate Marr's moonlighting on sessions with other artists.) So while this may not be the *very* best Smiths record or the favorite of most fans, it is still worthy of 5 stars.

And just for the record: Johnny Marr, speaking over a decade after "Strangeways" was released, said the following:"I don't think this album is what we're about to most people.They've decided that "The Queen Is Dead" is the better album and I don't agree.All the songs are better, it's better produced and it's got better atmosphere.I might be wrong but I don't think I am....It's the one Smiths record I've actually sat down and listened to since the break-up." Morrissey, when asked how he felt about Marr's opinion that "Strangeways" was their best album, said,"Well, it is.We're in absolute accordance on that. We say it quite often.At the same time.In our sleep.But in different beds."Food for thought, indeed. ... Read more

Asin: B000002LCX
Sales Rank: 8544
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Indie Pop    4. Pop    5. Rock   

The Joshua Tree
Average Customer Review:
Audio CD (15 June, 1990)
list price: $13.98 -- our price: $9.99
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Editorial Review

Having nearly exhausted their capacity for pop-song politics on War and The Unforgettable Fire, U2 turned toward themes of personal identity and complex relationships on The Joshua Tree. Not that the group was willing to come down off the barricades entirely: "Mothers of the Disappeared" and "Bullet the Blue Sky" turned a jaundiced eye toward Central America and the United States' role there. But the predominant mood here is one of self-discovery and the hunger for something more on tracks like the pulsating "Where the Streets Have No Name" and the gospel-ish "I Still Haven't Found What I'm Looking For." The album's masterstroke, however, is "With or Without You," a nasty love song dressed up as an ode of devotion and care. It ranks with the Police's "Every Breath You Take" as the most misread smash hit of the '80s. --Daniel Durchholz ... Read more

Reviews (366)

You can't go wrong with this one.
Simply put, this is one of the best rock LP's of all time.It's songs are both brilliant and timeless.Bono hits his peak with lyrics while The Edge really starts to show his diversity.This recording is one of the reasons why U2 is still alive and kicking today.Great works like this only come along once in a while.For even the casual U2 fan this is a no brainer.I like to call this U2's "Revolver".It's where the early U2 sound starts to evolve from the same old thing....and for a real treat check out U2's "Sgt Pepper" "Actung Baby".

U2's second best album!
This is full of sh** and garbage! Why make this kind of bad music? Led Zeppelin is great, this band is just full of sh**! Just like Radiohead!

U2's best work
This band isn't overrated, it isn't boring, and so what if its mainstream. It seemes that having a good rock cd means you have to be extremely alternative or today's standards, have a bunch of screaming wannabe- anarchist. A lot of Rock people don't like this album because like their other albums they sing with meaning, which new music seems to lack.
If you listen to this cd you will know that there are other songs besides the first three tracks (yet the first three are the best). There is Bullet The Blue Sky which is a cool, loud but medium-paced song. It talks about America, but it is kind of hard to tell if they're hazing us, praisin g us, or both. I like the part where Bono starts talking about a guy slapping twenty dollar bills down.
In God's Country is also a very good song.Not as flashy as the first, phenominal tracks, it is worth listening.Also, One Tree Hill is yet another good song. These songs play like poetrybecause Bono's Lyrics writing was at its best here.A reason for U2's success during the 80's was that they were skilled at making such inspirational lyrics.
The Mothers of The Dissapeared is a great ending song with an obvious political message.
[The First Three tracks- Where The Streets Have No Name, I Still Haven't Found What I'm Looking For, and With or Without You were not mentioned earlier because Iwant people to know there are more songs]WTSHNN is a wonderful opening track with a symphony backing U2 up. The other two songs are love songs (no, notextremely slow acostic guitar songs).
If you have an open-mind buy this cd. If you like punk rock don't bother. If you like Jimi, maybe, U2 used him playing the star spangled banner in Rattle and Hum. He is also another one of my favorite.If you think U2's quality is that of Britney Spears, then that's just weird. ... Read more

Asin: B000001FS3
Subjects:  1. Pop    2. Rock