Tag Archives: R.E.M.

10 Bands That Need To Reunite In 2016

With Guns N’ Roses reuniting to kick off 2016, here is a list of 10 more bands that should reun

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Motley Crue

‘The Final Tour Part 2.’ KISS had their ‘farewell tour’ conclude in 2001 only to announce a comeback in late 2002, so why not the Crue?

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Screaming Trees

The Screaming Trees have been the one holdout when it comes to notable Seattle Grunge bands reuniting. With Barrett Martin revisiting his past with Mad Season in the last couple of years, why not call up with Conner brothers and Mark Lanegan to reunite The Screaming Trees?

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R.E.M.

While R.E.M. ended their careers gracefully, it has been a shame to no longer have Michael Stipe regularly releasing new music, so even if R.E.M. returned as a studio based band, like they were for their final album, it would be a real treat for fans.

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Jet

Jet became overnight stars in 2003 with Get Back, an album that was a throwback to raw rock and roll bands like AC/DC and The Rolling Stones. Jet also wrote great Beatlesque ballads like “Shine On,” the title track for their second album. The band released their third and final album Shaka Rock in 2009, and breaking up in 2009. The band definitely seemed to go away too soon, as they once seemed primed to be one of rock’s next great arena bands. Why not come back now, at a time when rock is desperate for great bands who aren’t over 40?

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Rage Against The Machine

Rage Against The Machine’s 2007-2011 reunion ultimately did not ever result in a full tour, let alone a new album. The band largely paid high paying festival gigs, so it would be great to see the band do a real reunion with a new album and tour, especially in today’s changing political landscape.

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Audioslave

Audioslave’s Chris Cornell, Tom Morello, and Tim Commerford reunited at Chris Cornell’s birthday party in 2014, and Cornell and Morello also performed together a year ago, with Cornell openly stating in interviews that he would be open to a reunion.

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The Smiths

The offers have always been there for The Smiths to reunite for huge money. Maybe Morrissey could finally get festivals to stop selling meat if he was headlining them with The Smiths?

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Smashing Pumpkins’ original lineup

With Jimmy Chamberlin rejoining The Smashing Pumpkins last year, we’re halfway there!

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Oasis

This reunion seems inevitable. While the Gallagher brothers have not yet taken the big money offers, they are too ambitious to continue to turn down the chance to have one of the biggest U.K. tours in recent memory.

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Led Zeppelin

Jimmy Page returned to the stage just a few months ago, and is eager to tour in 2016.

Frances Bean Cobain Has Virtual Thanksgiving With Michael Stipe

Frances Bean Cobain showed her ‘Virtual Thanksgiving’ with her godfather Michael Stipe on Twitter. She tweeted, “It ’twas a virtual thanksgiving. My god father is the most handsome, even with pie in his hands @remhq.” She added that she was lucky to have the former R.E.M. frontman as her godfather, “I really am. Not because he’s in a band but because he’s one of smartest, kindest & sincere humans I’ve ever known.”

Cobain also praised Stipe earlier this year on his birthday, “Happy birthday to my god father & 1 of the greatest humans on the planet. I love you eternally. Thanks for being exactly who you are @remhq.”

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Red Hot Chili Peppers bassist Flea had some critical words for Thanksgiving last week. He tweeted, “The native Americans were slaughtered, raped, and robbed by the weird, lying invaders who showed up in ships one day.”

He later added, “I’m aware that thanksgiving is about being thankful for bonds with people. I am very thankful. We still murdered the Indians in my thoughts.”

R.E.M. Tell Donald Trump To Go F**k Himself: ‘He’s An Orange Clown’

R.E.M. have condemned Donald Trump for using “It’s the End of the World as We Know It (And I Feel Fine)” during his Presidential campaign:

“While we do not authorize or condone the use of our music at this political event, and do ask that these candidates cease and desist from doing so, let us remember that there are things of greater importance at stake here. The media and the American voter should focus on the bigger picture, and not allow grandstanding politicians to distract us from the pressing issues of the day and of the current Presidential campaign.”

R.E.M. bassist Mike Mills had further comments on Twitter.

Personally, I think the Orange Clown will do anything for attention. I hate giving it to him.

The R.E.M. statement will be regarding Trump’s use of our song. Nothing more than that!

Oops, lack of tech savvy got me. Official statement coming when I figure out how.

Upcoming is Michael’s statement about Trump using our song at the rally. His opinions are HIS, please do not tweet angry responses at me.

“Go fuck yourselves, the lot of you–you sad, attention grabbing, power-hungry little men. Do not use our music or my voice for your 1)

…moronic charade of a campaign.”–Michael Stipe

Smashing Pumpkins frontman Billy Corgan discussed Donald Trump and the first Republican Presidential Debate last month at a VIP Q&A in Cincinnati. Read Alternative Nation’s transcription below from Corgan’s August 8th fan Q&A:

“I think what’s cool, and I’m not saying I agree politically, but I think what’s cool is Trump’s running chaos theory. He’s forcing a lot of things out into the open, so they can’t control this, whatever that control is. It’s like the music business, everybody gets controlled, and somebody comes along that fucks it all up. So I think it’s good that he’s fucking it up, because whether or not he’s the guy, obviously the political class doesn’t want him there, it’ll open it up to a bigger dialog. Just like rock and roll, it gets boring and it needs to be – I mean look, whether anybody agrees or not, the rating on that debate was 24 million. It was 8 times higher than the first Republican debate of the last cycle. It was highest non-sports related cable rating of all time. That means people are engaged.”

Corgan added, “I would argue at this point is there any difference between politics and entertainment? Is there any difference at this point between music and entertainment? I don’t think there’s any difference any more.”

Remembering R.E.M.’s ‘Monster’: A 20th Anniversary Retrospective

REMEMBERING R.E.M.’s MONSTER: a 20th anniversary retrospective

For the twentieth anniversary of ‘Monster’, Alternative Nation looks back at the recording, release, and critical reception of R.E.M.’s ninth studio album as well as the often-problematic world tour that followed, drawing from archived print and film publications.

On September 27, 1994, R.E.M. released their ninth studio album, Monster, via Warner Bros. The highly-anticipated follow-up to their commercially successful and critically acclaimed albums Out of Time and Automatic For The People, Monster was loud, layered, and heavy. The album’s distorted, sludgy tone and loud electric guitars were calculated changes from the mostly acoustic, songwriter-driven sound of its immediate predecessors. Monster was R.E.M.’s ‘return-to-rock’ album; gone were the poppy radio friendly hits, gone were the intimate ballads and mandolins, and gone were the politically-charged, outspoken lyrics of vocalist Michael Stipe.

By 1993, R.E.M. had grown from cultish college radio status into one of the premiere rock acts of the time. R.E.M. had managed the seemingly unachievable task of gaining commercial success and critical acclaim without compromising their artistic vision and integrity. The band had sold over 30 million units in the previous two years, opting not to tour behind the mostly acoustic albums. Meanwhile, pressures from the media and the band’s growing fan base mounted. Although the band was admired by their contemporaries for their masterful control of the media in protection of their intensely private personal lives, their experience often proved difficult. With the trials of rock-stardom came swirling rumors in the media.

In April of 1993, R.E.M. convened in the resort getaway of Acapulco, Mexico to discuss the future of the band. The band had not been on tour since 1989 and the band had spent the first three years of the ‘90s laboring in the studio. With their recent lack of touring in mind, the four bandmates agreed to record a tour-friendly album that “rocked.” Drummer Bill Berry was the most eager to tour. Halfway through the recording of Automatic For The People, Berry had told his bandmates that he would quit R.E.M. if their next record didn’t rock. Just two days later in Acapulco, R.E.M.’s agents were planning the band’s next two years for them, already booking tour dates for 1995.

Under the supervision of Bob Dylan producer Mark Howard, R.E.M. began writing their untitled new album in September 1993 at Kingsway Studio in New Orleans’ French Quarter. In New Orleans, the band wrote songs like “I Took Your Name” and “You.” Rather than letting the album grow organically like previous albums, the band already had a specific goal and sound in mind before recording: to make their next album tour-friendly and electric.

Peter Buck: “We just kind of knew that we were excited about doing something a little bit more energetic, and what that meant, we had no idea. So, it was a process of me sitting in this little apartment that I was living in, in ’93, tiny apartment, about 4×10’, and just banging on the guitar really loudly until the neighbors knock on the wall. Bringing these little ideas in and showing it to Mike, and Mike showing me his ideas and Bill showing me his ideas, and all of a sudden we kind of had this idea.” [“Box Set: R.E.M.,” VH1]

Mike Mills: “When you’re in a band long enough, you want to try different things. On past albums we had been exploring acoustic instruments, trying to use the piano and mandolin, and we did it about all we wanted to do it. And you come back to the fact that playing loud electric guitar music is about as fun as music can be.” [“Monster Music,” Time Magazine, 1994]

Peter Buck: “I played guitar really loud. It was a little like Spinal Tap … you know, crank it up to eleven.” [Monster press release, Warner Bros, 1994]

As the band’s instrumentalists began preproduction for the album, vocalist Michael Stipe faced malicious rumors in the press. While the band’s fandom increased, scrutiny on its lead vocalist’s personal life was ramped up. Members of the press began to investigate Stipe’s sexuality, with some reporters suggesting that the singer had been diagnosed with AIDS.

Michael Stipe: “It was widely rumored that I had AIDS, or that I was HIV-positive. Which is not the case. I didn’t answer those rumors for a long, long time because I felt like making a big deal out of saying no would stigmatize people who are HIV-positive.” [“Everybody Hurts Sometime,” Newsweek, 1994]

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While R.E.M. began work on Monster, Stipe’s life came to a halt when his close friend River Phoenix died of a drug-induced heart failure outside of The Viper Room in Hollywood on Halloween in 1993. Phoenix’s death put a hold on the writing and production of R.E.M.’s new album.

Michael Stipe: “I lost a friend in October — River Phoenix was a very, very close friend of mine. And I’ve never suffered such a profound loss. I couldn’t write for five months. We had started the record in September. I’d written two songs and then River died.” [“Everybody Hurts Sometime,” Newsweek, 1994]

R.E.M. reconvened five months later at Atlanta’s Crossover Soundstage. Mark Howard had sent material from the band’s New Orleans sessions to producer Scott Litt, who had worked with the band since 1987’s Document. With engineers Pat McCarthy and David Colvin also in tow, the recording of the album began. The majority of the album was cut at Crossover.

Charles Cote: “R.E.M. would arrive at about 10 each day, run through their set of tunes as a warm up, then spend the afternoon tracking. The idea was to capture as many live takes as possible to capture the magic of R.E.M.’s live sound. Later during mixing, they could pick the parts that they wanted to keep.” [“The Making of R.E.M.’s Monster,” 2005]

Scott Litt: “I thought since they hadn’t toured in a while, it would be good for them to get into that mind-set -you know, monitors, PA, standing up.” [“Monster Madness,” Rolling Stone, 1994]

While the Atlanta recording sessions were going well, new issues for the band quickly surfaced and breaks in the sessions occurred frequently. Recording was delayed for a few days as Mike Mills got sick during a session and underwent an appendectomy. On another occasion, Bill Berry fell ill and had to take break in Athens. Michael Stipe’s sister had a child, as did Peter Buck’s girlfriend, who gave birth to twins.

Perhaps the most jarring interruption to the Atlanta sessions came in early April ‘94, when Stipe’s friend Kurt Cobain was found dead in his Seattle home. Cobain greatly admired R.E.M., publicly praising the band’s music and artistic integrity in interviews. In addition, Buck had recently moved to Seattle and lived next door to the home where Cobain lived with his wife and daughter. In the weeks leading up to Cobain’s death, Stipe attempted to draw Kurt out of his negative head space. The pair had exchanged ideas about new music, sent cassette demo tapes back and forth, and set up a recording session in Georgia. In reaction to Cobain’s death, Stipe wrote the grim, reflective “Let Me In.”

Michael Stipe: “Halfway through making Monster, Kurt died. At that point, I just threw my hands up and wrote “Let Me In.” That was me on the phone to him, desperately trying to get him out of the frame of mind he was in. In the most big-brotherly way — God, I hate that term — in the most genuine way, I wanted him to know that he didn’t need to pay attention to all this, that he was going to make it through. If R.E.M. had sold 5 million copies of Murmur, none of us would be alive to tell the tale. I really believe that. I’d have died with Quaaludes in my blood and a lot of Jack Daniels.” [“Everybody Hurts Sometime,” Newsweek, 1994]

Kurt Cobain: “I don’t know how [R.E.M.] does what they do. God, they’re the greatest. They’ve dealt with their success like saints, and they keep delivering great music.” [“Success Doesn’t Suck,” Rolling Stone, 1994]

Michael Stipe: “I sent him a plane ticket and a driver, and he tacked the plane ticket to the wall in the bedroom and the driver sat outside the house for 10 hours. Kurt wouldn’t come out and wouldn’t answer the phone. I was in Miami making a record…I didn’t feel like it was my place to get on a plane myself and go to Seattle. I was doing what I thought was the best thing to do at the time. And, you know, frankly I’m not great with heroin addicts. I tried heroin, but it was by accident.” [“Michael Stipe,” Interview Magazine, 2011]

In late April 1994, the band moved to Miami’s Criteria Recording Studios with producer Scott Litt. In Miami, Stipe suffered from an abscessed tooth that further delayed the album’s production. R.E.M.’s recording sessions at Los Angeles’ Ocean Way Recording later that spring found the band behind on their schedule. Their lateness, largely due to the band members’ personal issues, had been compounded by their complicated mixing process, Stipe’s continued lyric writing while the band was supposed to be mixing, and increasing tensions between band members. The four bandmates were staying at different locations in Los Angeles and were rarely present at the studio at the same time. Tensions within R.E.M. peaked at a mixing session at Scott Litt’s Los Angeles home studio Louie’s Clubhouse, where the band briefly broke up. The group’s pressures and personal issues had taken their toll. Eventually the mixing sessions reconvened once the bandmates ironed out their disputes and communication among the friends returned. Buck would later remark that the band wouldn’t have made it through the tough production of the album if they hadn’t been such close friends.

Michael Stipe: “It was pretty rough. There were a lot of life things happening around us–births and deaths. It was a very intense record.” [“Retail, Radio Expect R.E.M.’s Warner Set To Be A ‘Monster,” Billboard, 1994]

Scott Litt: “That’s why it’s been taking so long to mix. We’re trying to figure out how raw to leave it and how much to studiofy it.” [“Monster Madness,” Rolling Stone, 1994]

Michael Stipe: “We broke up. We reached the point where none of us could speak to each other, and we were in a small room, and we just said ‘Fuck off’ and that was it.” [Reveal: The Story of R.E.M., Johnny Black, 2004]

Mike Mills: “We had a band meeting after the session last night. We have to begin working as a unit again, which we haven’t been doing very well lately.” [“Monster Madness,” Rolling Stone, 1994]

After significant turmoil, R.E.M. finally completed their new album, now entitled Monster, by the summer of 1994. The album’s noisy, electric, and heavily-layered rock sound successfully achieved the band’s initial tour-friendly album goals. Its intricate sonic textures reverberated in a way that completely reversed the intimate, acoustic nature of its predecessors. Songs like the lead single “What’s The Frequency, Kenneth?” and “Crush With Eyeliner” exhibited R.E.M.’s consistent songwriting within significantly more distorted, rocking tunes.

With this grungy dirge in play, the band’s material found Stipe’s lyrics being pushed back into the mix, a closer reflection of the band’s earlier work. Monster found lead singer Stipe writing lyrics in various characters, a lyrical style he had not explored before. These lyrics found Stipe confronting the band’s recent success and the media pressures that followed. On “King of Comedy,” which was initially titled “Yes, I Am Fucking With You,” Stipe sings: “I’m not your television / I’m not your movie screen / I’m not commodity.” Monster also found the singer reflecting on his sexuality and the rumors regarding this topic that were published in the media: “Make it charged with controversy / I’m straight, I’m queer, I’m bi.”

Michael Stipe: “A lot of records are cerebral, a lot of records are from the heart, this one’s more from the crotch.” [R.E.M. documentary Rough Cut, 1995]

Peter Buck: “This rock record is about space, it’s about noise, it’s less songwriter-ly than our past records. It’s more kind of riff and groove-oriented and, you know, it seemed to be a lot more fun, we were just having a great time playing.” [“Box Set: R.E.M.,” VH1]

Michael Stipe: “It was a good time. A lot of things happened, kind of life things happened, while we were making the record that made it a little more difficult. It was a very challenging record to make.” [Flagpole interview, 1994]

Meanwhile, the album title of Monster, which Stipe insists was selected at random, presents an interesting metaphor for R.E.M. in 1994. The band’s ‘monster’ was manifested in the turmoil that surrounded the album’s recording, in the album’s hard rock sound, and in the recent events that were emotionally draining for R.E.M.’s band members.

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Monster, R.E.M.’s ninth studio album, was officially released on September 27, 1994 via Warner Bros. The album, dedicated to River Phoenix, debuted at no. 1 on the Billboard 200 albums chart, as well as at no. 1 spots in Canada and the UK. The album’s second single “Bang and Blame” debuted at no. 1 the following January and was the band’s last-ever Billboard Top 40 hit. The initial critical reception was largely positive, with glowing reviews coming from Rolling Stone and Blender. Not every review was positive, with some journalists calling the album’s stylistic change “distant” and “diverting.” Rolling Stone awarded Monster four and a half out of five stars, highlighting the band’s successful stylistic change.

Robert Palmer: “The two or three softer tunes that might not have sounded out of place on previous outings are pointedly sandwiched in the middle of the disc, surrounded by the sizzle of overdriven amps, snarling distortion and aggressive rhythms…Don’t misunderstand: R.E.M.’s exceptional pop craftsmanship, their luminous melodic inventions, their sense of mission – in short, everything fundamental – are still there and shining more brightly than ever.” [Rolling Stone review of Monster, 1994]

Following the largely successful release of the album, R.E.M.’s band members, including the usually private Stipe, cycled through numerous press interviews and media appearances. The band then embarked on their sold-out, stadium-filling world tour in the first weeks of January 1995. The Monster tour included stops in Australia, East Asia, Europe, and the United States. R.E.M.’s bandmates faced the tour with the idea that the band might never embark on such a massive tour again, and their entertaining, let-loose performances reflected this attitude.

Peter Buck: “I’m really looking forward to touring. We’re all kind of excited by it. It’s going to be really great. It’ll be different. It’ll be fresh. I haven’t done it to death” [“Monster Madness,” Rolling Stone, 1994]

Michael Stipe: “I’m dreading [touring]. That’s about all the thought I’ve been able to give it. I love performing, and I love traveling, but the two combined are pretty poisonous.” [“Monster Madness, Rolling Stone, 1994]

David Fricke: “For someone typically depicted in his press clippings as enigmatic, sullen and utterly devoid of pop-star smarm, Michael Stipe is back on the road with R.E.M. for the first time in five years — and having a great time fucking with our expectations.” [“Monster On The Loose,” Rolling Stone, 1995]

Daniel Geller: “The band hit the stage with the enthusiasm and energy of men half their age and rocked like there was no tomorrow…On this evening, Michael Stipe finally seemed to let his guard down and go back to the frolicking, dancing fool we all remember from previous, less-jaded R.E.M. tours. He flailed and sang and did that thing with his hands real well.” [Monster tour review, 1995]

While the Monster tour succeeded at first, with all four band members firing on all cylinders, personal and medical issues ensued in the same fashion that delayed the album’s recording. One of the band’s medical issues was significantly worse this time around. On March 1, 1995, R.E.M. was performing in Switzerland when Bill Berry fell ill with an intense migraine during a performance of their song “Tongue” and was rushed to the hospital.

Peter Buck: “It was wintertime in Europe, and we were cold the whole time, and everyone’s head hurt, and everyone’s stomach hurt, and no one was eating. But none of us had ever collapsed onstage, so we figured Bill must really be sick.” [Alec Foege interview, Rolling Stone, 1995]

MTV News: “90 minutes into the concert at the Lausanne’s Patinoire Wednesday night, Berry was stricken by a migraine and was taken to the hospital. As Joey Peters, the drummer from Grant Lee Buffalo finished up R.E.M.’s set, Berry underwent an emergency craniotomy to clip off the aneurysm, which was on the right hand surface of his brain. There was no internal bleeding reported, and Berry, 36, is expected to remain in the hospital for the next week to ten days.” [MTV News report, 1995]

R.E.M. cancelled their tour dates through April 20th and the future of the Monster tour, as well as the future of the band, was in limbo.

Peter Buck: “First thing I thought was, ‘We probably won’t ever play in public again.’ If the doctor said, ‘Bill just can’t tour,’ then we would have said, ‘Fine.’ We would have come home and made records. I’ve always known this could just go at any minute, so it wasn’t totally a shock to me.” [Alec Foege interview, Rolling Stone, 1995]

Miraculously, Berry made a quick and successful recovery from his aneurysm and craniotomy and the Monster tour soon continued, quickly interrupted again by Mills’ surgery to remove a benign intestinal tumor. With their health still relatively in check, R.E.M. began making light of their constant medical problems. Stipe once joked during a concert: “Welcome to the Aneurysm Tour ’95!” Later that summer, Stipe required surgery to relieve a hernia.

Michael Stipe: “[The hernia] comes from singing. The doctors told me that. Hard singing. The force of singing is like the beginning stages of labor. It takes a lot to push the notes out.” [Tom Moon interview, The Philadelphia Inquirer, 1995]

Although the Monster tour was the band’s most financially successful venture in their 31-year history, it did not come without significant personal and physical struggle.

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While Monster received mostly positive reviews immediately following its initial release in 1994, the album is now often seen in a negative light. It seems that although the album achieved the band’s goals in creating a tour-friendly rock album, this abrupt stylistic change forces the album in the shadow of its hugely successful predecessors. The album contains strong songwriting and interesting instrumental work, particularly from guitarist Peter Buck. However, fans might have seen this as a departure from what made them enjoy the band’s work in the first place.

Mike Mills: “If [fans] come expecting “Shiny Happy People,” I hope they’re disappointed. That song is an aberration. If that’s all people know about R.E.M., they’re certainly in for a shock and a surprise.” [Brian Armstrong interview, “A Current Affair,” 1995]

Michael Stipe: “We managed as people to not ever feel like we were compromised by external forces, to not feel like we capitulated to an idea of what a pop band should be, or what a rock band should be, and to not give in to the industry or the market” [Gry Blekastad Almås interview, NRK, 2011]

Sean McCarthy: “While I was fishing through the ‘R’s, one girl next to me said ‘One thing you can count on when you go into a used record store is at least five used copies of R.E.M.’s Monster will be on hand.’ At that moment, I saw a solid brick of orange CDs, proving her point.” [“Strange Currency,” PopMatters, 2010]

R.E.M. was a band that never compromised its artistic vision and integrity, even in the face of commercial success, critical acclaim, and rising fandom. When you view Monster in this light, it becomes easier to see why it’s become classically-maligned in recent years: fans of the band were probably expecting more songs like “Everybody Hurts” or “Nightswimming.” The mid ‘90s found the band reeling from their immense success and returning to their rock roots to craft a noisy, sometimes dirge-like album that exists in sharp contrast to their pop albums of the early ‘90s. Although it is not R.E.M.’s greatest album, it achieved the band’s goals and expectations for the record and produced strong, worthwhile rock and roll material. The album and the extensive tour that followed found the group dealing with enormous personal and medical issues, tensions between bandmates, a laborious album recording process, and growing pressure from fans and journalists. What is important to note is that the band persevered through it all, continuing to stay true to their craft and overcoming their ‘monsters’ until the band’s disbandment more than sixteen years later.



Michael Stipe Releases First New Music Since R.E.M. Breakup

Michael Stipe, former lead vocalist of R.E.M., has released his first new music since the legendary alternative rock band’s breakup in 2011. Stipe recently collaborated with his friend, filmmaker Tom Gilroy, on a soundtrack composition for The Cold Lands.

In an exclusive interview with Salon.com, Stipe says that he worked with fellow Athens, GA native Andy LeMaster on the project, stating: “he’s a tremendous producer, he’s a tremendous person. I know I work well with other people — to have someone to bounce something off of works for me.”

Stipe also remarked: “this is, in fact, the first thing that I’ve done musically since R.E.M disbanded. So, of course, I wanted it to be for something that meant a lot to me. That was important.”

Regarding the possibility of new music in the future, Stipe says that “music will most definitely be a part of my future output” but that he “can step away from [music] for several years and be very happy.” Listen to Michael Stipe’s new The Cold Lands composition exclusively at Salon.

R.E.M. Will Release 1991 & 2001 ‘MTV Unplugged’ Concerts On Record Store Day

R.E.M. is set to release Unplugged: The Complete 1991 And 2001 Sessions for Record Store Day on April 19, 2014. The band will release their ‘MTV Unplugged’ sessions as a 4-LP box set this April, and will be available on May 20th for CD and digital copies.

R.E.M. is the only band to have ever played the popular ‘MTV Unplugged’ series twice. According to Rolling Stone, five previously unaired tracks from the band’s 1991 set and six tracks from the band’s 2001 set will appear alongside the originally aired songs. The band had an amicable break-up in 2011 after playing together for more than 30 years. Watch R.E.M. perform “Fall on Me” in 1991 and view the tracklist for the upcoming box set below:

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Tracklist:
1991 Unplugged
1.”Half A World Away”
2.”Disturbance at the Heron House”
3.”Radio Song”
4.”Low”
5.”Perfect Circle”
6.”Fall on Me”
7.”Belong”
8.”Love Is All Around”
9.”Its The End Of The World As We Know It (And I Feel Fine)”
10.”Losing My Religion”
11. “Pop Song 89”
12. “Endgame”
13.”Fretless”*
14.”Swan Swan H”*
15.”Rotary 11″*
16.”Get Up”*
17.”World Leader Pretend”*

2001 Unplugged
1.”All The Way To Reno (You’re Gonna Be a Star)”
2.”Electrolite”
3.”At My Most Beautiful”
4.”Daysleeper”
5.”So. Central Rain (I’m Sorry)”
6.”Losing My Religion”
7.”Country Feedback”
8.”Cuyahoga”
9.”Imitation of Life”
10.”Find the River”
11.”The One I Love”*
12.”Disappear”*
13.”Beat a Drum”*
14.”I’ve Been High”*
15.”I’ll Take the Rain”*
16.”Sad Professor”*

* Not included in original television broadcast

Nirvana’s Krist Novoselic Jams With Former R.E.M. Members

Nirvana bassist Krist Novoselic tweeted a photo of himself with R.E.M. guitarist Peter Buck as well as R.E.M. touring drummer Bill Rieflin. Buck and Rieflin were featured on Sweet 75’s self-titled album, a project formed by Novoselic after the death of Kurt Cobain. Nirvana were fans and friends of R.E.M. during the 1990s, with a strong friendship between singers Michael Stipe and Kurt Cobain.