Driver 8Jan 17, Location: Dublin, Ireland. I actually had a brief chat with the great Peter Buck last night in Dublin! He's currently on tour with Robyn Hitchcock's band playing tiny venues. He was in great form, looking slim and healthy and playing great they did a few covers including a stunning encore that included 'See Emily Play' and 'Eight Miles High' Got talking about the first time I saw REM in December when my old classmate and bandmate Steve Wickam now in the Waterboys joined them onstage for 'Don't Go Back To Rockville'.
He remembered every detail. And here's the bit we'll all relate to: He spent yesterday afternoon scouting around the record shops in Dublin looking for rarities! Now there's a true music fan! DublintownJan 17, Location: Vancouver. A couple of years ago I saw Peter Buck wandering around in Gastown in Vancouver, looking like any number of scruffy people you see around there. As he walked past I thought "That guy is a multimillionaire. SquealyJan 17, On to Murmur.
This album is routinely hailed as R. I disagree. Reckoning and Fables of the Reconstruction are far superior albums, imho. Murmur is a very, very good album, but it looked even better than it was by contrast to the era in which it was released. Keith Moon and John Bonham were dead. The Who soldiered on, while Led Zeppelin broke up.
Meanwhile, as we have recently discussed in the Crosby, Stills, and Nash album-by-album thread, 60s artists such as Stephen Stills, Graham Nash, and Mick Jagger were releasing synth- and drum machine-heavy albums of their own.
To the classic rock radio stations Album) the day, musical history began inwith the release of Crosby, Stills, and Nash and Led Zeppelin. Just about the only popular contemporary bands who made any reference to the sounds of were the Pretenders and Tom Petty and the Heartbreakers. Murmuron the other hand, Horses - John Hunter (3) - Famous At Night (Vinyl, was loyal to the musical and production values of the pre- Sgt. Pepper sixties. After playing along with a Album) track to endless takes of the song "Catapult," the band rebelled, and went back to Mitch Easter and Don Dixon.
Although Buck would deny it at the time, the band's sound clearly owed a great deal to the folk-rock sound of the Byrds and the Lovin' Spoonful. There would be no synthesizers, no gated snare sounds, no digital LP, and no extended prog-rock guitar solos. Like most rock critics of the day, I fell for this approach hook, line, and sinker, because it reminded me of the 60s records I had inherited from my mother, and that I literally worshipped, at a time when, as noted above, most of the survivors of the 60s had at least temporarily abandoned the sound that made them great.
The first four songs on Murmur are pretty unbeatable. We've already discussed "Radio Free Europe. As we have discussed previously, almost all of the band's early material was a hundred miles an hour, up-tempo songs, as one would expect from a band that made its living playing parties and clubs.
Berry shines on this track. His use of unusual tom-tom accents on this song, and the rest of the album, was innovative. He still doesn't get the credit he deserves as a drummer, imho. In the biography FictionMitch Easter recalls that "we had our 'campfire' guitars where everyone available would play acoustic guitar at the same time and we'd build up these 'My Sweet Lord' washes of guitar.
To my ears, "Moral Kiosk" breaks the mood of the first four songs, and reminds the listener that it isnot As much as R. Neither of these songs are quite as successful as the more 60s-sounding songs, imho. It takes more technical skill on guitar to play in an avant-garde or dissonant style than it does to play a song like "Talk About the Passion," and Buck just didn't have that skill yet.
As was the case with the early Who, Mike Mills was two or three times as proficient a musician as his guitar player was, and he shines on this album. Mitch Easter recalls again, in the biography Fiction that "Mills played his instruments with a sort of mainstream confidence. His bass is, for all intents and purposes, the "lead" instrument on many of these songs, particularly "Radio Free Europe" and "Laughing.
M song that features the piano instead of the guitar. This is a beautifully produced and sung ballad, but perhaps does not feature the strongest set of changes that Mills ever came up with. Much of the rest of the material on the album, particularly on side two, verges on filler to my ears. I mentioned this earlier, but it's too bad that "Gardening at Night" and "Carnival of Sorts" were thrown away on the EP, as they really could have salvaged side two of this album.
I haven't really discussed Stipe's contribution to this album too much. At the time of Murmur 's release, there was a huge controversy over his indecipherable lyrics. This controversy probably cost the band a chance at airplay on those FM rock stations that were willing to play something fresher than "Stairway to Heaven" and "Won't Get Fooled Again" on endless repeat. I personally loved Stipe's lyrics, as I suspect many others did, because I was free to fill in the blanks myself and construct my own private lyrics and meanings for the songs.
And, at this stage in his career, Stipe had one of the most beautiful male voices in rock. I'm not sure if he was a baritone or a tenor, or how one would technically describe his voice, but there was a yearning, emotional quality to his vocals on songs like "Laughing" and "Pilgrimage" that drew me in immediately.
I was just the right age to be bowled over by this record. I was sixteen, and, as I discussed above, had just begun to take fumbling steps towards constructing my own personal aesthetic of rock music that privileged "Help!
For probably six months straight, the last thing I did each night before falling asleep was listen to Murmur on headphones. The irony of R. Location: Ohio, USA. I won't match John's eloquence on Murmur. But I will say that I LP think the songwriting was anywhere near as sharp as what would follow on Reckoning. That said--the basic R. And, with no exaggeration, my taste in music was forever changed with this record.
Almost single-handedly, this album made me re-discover American music. Oh yeah, I forgot to raise the side issue of which pressing of Murmur is the best. There is so much more "air," presence, warmth, blah blah blah, on the vinyl that you owe it yourself to find a copy. I haven't heard either one, but supposedly MFSL used a different master tape with a lot more bass than the I. So all you Mike Mills fans need to track that down.
If you have to listen to this album on CD, you might as well get the import "I. Verified Purchase. The album may be somewhat weak, LP if you don't have to overpay for a copy in good shape, it may be worth it just to get the gem "Tragedy. See all reviews. There's a problem loading this menu right now. Learn more about Amazon Prime. Get free delivery with Amazon Prime. Back to top. Get to Know Us. Amazon Payment Products. English Choose a language for shopping.
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