.
http://assets-s3.rollingstone.com/assets/images/album_review/cfc7e7608ddd5fcd2e1b42cfe134ac8fc39cda40.jpg Reckoning

R.E.M.

Reckoning

IRS
Rolling Stone: star rating
Community: star rating
5 4 0
April 9, 1984

Murky yet emotionally winning, brainy but boyishly enthusiastic, R.E.M.'s debut album, Murmur, burst onto the pop scene last year with minimal fanfare. Though some critics lumped the Athens, Georgia, quartet with the big-guitar bunch (the Alarm, Big Country), R.E.M.'s approach was more delicate and pastoral. Their sound was a curious fusion of vocalist Michael Stipe's bookish, still-wet-behind-the-ears pretension and guitarist Peter Buck's cheerful folky energy. The tunes aside, there was something positively seditious in a song like "Laughing," where an engagingly bright acoustic guitar arpeggio accompanied a lyric like "Laocoon ... martyred, misconstrued." Stipe's words may largely have been indecipherable, but Murmur was consistently intriguing. In short, the best LP of 1983.

On Reckoning, R.E.M. has opted for a more direct approach. The overall sound is crisper, the lyrics far more comprehensible. And while the album may not mark any major strides forward for the band, R.E.M.'s considerable strengths — Buck's ceaselessly inventive strumming, Mike Mills' exceptional bass playing and Stipe's evocatively gloomy baritone — remain unchanged.

If Murmur showed Buck to be a master of wide-eyed reverie, Reckoning finds him exploring a variety of guitar styles and moods, from furious upstrumming to wistful finger-picking. "Letter Never Sent" displays Buck at his sunniest, whirling off twelve-string licks with hoedown fervor, from a lock-step part in the verse that recalls early Talking Heads, to a cascading, Byrds-like riff in the chorus. Buck proves to be an equally infectious keyboard player; his echoey chords slide easily underneath Stipe's cry of "sorry" on the album's single, "So. Central Rain." And on "7 Chinese Brothers," Buck does it all: curt, distorted background chords, icy piano notes, warm chordal plucking and high-string riffs that drone as Stipe sketches, in a mournful hum, the fairy-tale story of a boy who swallowed the ocean. Yet, for all that aural activity, the song flows with elegiac grace.

Stipe, whose voice is usually mixed way back, comes up front for "Camera," an enigmatic account of failed love that's enhanced by an eerie single-string solo from Buck. While less powerful than Murmur's "Perfect Circle," this ballad demonstrates a surprising degree of emotional depth in Stipe's singing. On "(Don't Go Back to) Rockville," a more traditionally structured country rocker, Stipe stretches himself even further, singing in an exaggerated, down-home twang.

There's an off-the-cuff feel to much of Reckoning — even some of the band's jams and coproducer Mitch Easter's exhortations are preserved on side two. Unfortunately, improvisational songwriting has its pitfalls. The group, for example, could benefit from a tougher drum sound. Bill Berry shows a deft touch on the cymbals in the peppy "Harborcoat," but the martial beats of "Time after Time (Annelise)" are about as threatening as the Grenadian army. Stipe's amelodic singing also poses problems at times. While the band tends to use his voice as an instrument, his vocalizing in such songs as "Second Guessing" and "Little America" seems out of place, unsatisfying.

As a lyricist, Stipe has developed considerably over the past year. In "So. Central Rain," he notes, intriguingly, that "rivers of suggestion are driving me away." Yet he still waxes pedestrian on occasion, as in "Pretty Persuasion," which finds him griping, "Goddamn your confusion." His erratic meanderings may give the band some hip cachet, but they are an impediment that will prevent R.E.M. from transcending cult status. With skill and daring like theirs, the tiniest commercial concessions — some accessible lyrics from Stipe and a major-league drum sound — could win this band a massive audience.

Even without those changes, however, R.E.M.'s music is able to involve the listener on both an emotional and intellectual level. Not many records can do that from start to finish. "Jefferson, I think we're lost," cries Stipe at Reckoning's end, but I doubt it. These guys seem to know exactly where they're going, and following them should be fun.

prev
Album Review Main Next

ADD A COMMENT

Community Guidelines »
loading comments

loading comments...

COMMENTS

Sort by:
    Read More
    Around the Web
    Powered By ZergNet
    Daily Newsletter

    Get the latest RS news in your inbox.

    Sign up to receive the Rolling Stone newsletter and special offers from RS and its
    marketing partners.

    X

    We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

    Song Stories

    “Whoomp! (There It Is)”

    Tag Team | 1993

    Cecil Glenn — a.k.a., "D.C." — was a cook at Magic City, a nude dance club in Atlanta, when he first heard women shout "Whoomp — there it is!" Inspired by the party chant, he and partner Steve "Roll'n" Gibson wrote a song around it. Undaunted by label rejections, they borrowed $2,500 from Glenn's parents and pressed 800 singles, which quickly sold out in the Atlanta area. A record deal came soon after. Glenn said the song was meant for positive partying. "If you're going to say 'Whoomp there it is,' and you're doing something negative, we'd rather it not have come out of your mouth."

    More Song Stories entries »
    www.expandtheroom.com