Posted to Dime by timsmyname (http://www.dimeadozen.org//torrents-details.php?id=196161) (http://www.dimeadozen.org//torrents-details.php?id=196161) September 6, 1986 - Indiana University Auditorium, Bloomington, IN, USA Recorded from the balcony to a sony recordable walkman with a stereo radio shake mic. Setlist: - 01 These Days - 02 Harborcoat - 03 Begin The Begin - 04 Maps And Legends - 05 The One I Love - 06 Old Man Kensey - 07 Driver 8 - 08 Shaking Through - 09 Just Messing Around.... - 10 Fall On Me - 11 The Flowers Of Guatemala - 12 Last Date - 13 I Believe - 14 Swan Swan H - 15 California Dreamin' - 16 Can't Get There From Here - 17 Superman - 18 Second Guessing - 19 Pretty Persuasion - 20 Life And How To Live It Encore: - 21 Cuyahoga - 22 Strange - 23 Little America - 24 Lightnin' Hopkins - 25 So. Central Rain (I'm Sorry) - 26 Just A Touch I noticed when researching the setlist that all the sites seem to have left out the last song "Just A Touch" If there are any other recordings of this show out there, this may be a surprise find for hardcore collectors.

As you have read here, not much has been posted as of late. For one, the Accelerate Promotional Tour that lasted all of three months left me a little weary for some R.E.M. Timeout. I have also been looking at my other blog which has gotten so very little attention, someone informed me that my last post there was informing everyone that I was endorsing Barack Obama. As it seems, he will be winning the nomination for the Democratic Party and make history in the process. Anyhow, I am going to have to find a way to balance them both somewhere. :) I am still around and about and I do have plans for the future. First off, I am going to be posting the Chicago 10/25/04 Show pretty soon. I got a request from a fan (another Eric) who had received the microphone from Stipe that fateful evening during the song Sitting Still. So he had requested it and I thought it would be neat for him to tell everyone his story and in return I would put the show up here for not only you but everyone else to download and listen to. It was recorded in the beautiful and accoustically wonderful Auditorium Theatre here in Chicago. Next, I want to work on ways, and it still needs to be more developed on my end for you the fan to share your experiences for the upcoming shows. Some of the areas that I want to touch on are going to be encouraging the development of the Flickr, Youtube, Twitter, Reviews and Recordings. If some of this stuff seems foreign to you presently that is fine. However, more importantly, if you are interested, it will be a way that you the fan can post and describe your experience to the rest of the fans out there that will want to hear various accounts of what is going on. We are about two weeks away from the first show in Vancouver.

With only 2 weeks to the first show in Vancouver . . . . this is the time for making final arrangements and plans for getting this show on the road ...

During this period of quiet times I offer a couple thoughts about the most important R.E.M. albums… I have been thinking over the past week or so about the most important albums by R.E.M., and I thought that honestly that the most important one is easy to answer: Murmur. Of course as a purveyor and leader among fans, I have no doubt that I have the unilateral support of all 100% of you out there that are reading this. However, for the condescending fan out there that does not agree with me, Murmur was the album that put the band on the map and made them more than just any other small band out there. By getting noticed by large publications like Rolling Stone as well as smaller publications like Village Voice, Murmur “Catapulted” the band into the top 50 where they immediately had an audience. But enough about Murmur for a moment. However, the second most important album the band released is much more difficult. We could look at importance as sales but I think that it is more than that. An important album has to not only be in our collective conscious but also be a significant stepping stone in the growth of the band. While, as a reader out there, other albums might stand out more in terms of content, none of them were as important as this one. R.E.M. needed a change of pace and sound and the album that did that was Lifes Rich Pageant. It was the first album were R.E.M. really made a conscious effort to attract a larger audience both with their sound, their songs as well as their technique. It planted the see for the hits that came on later albums, like Document and Green. It changed the way that Michael Stipe sung, as Don Gehman the producer worked incessantly with him with his enunciation and lyrics. It was also the album the band made after their difficult Fables sessions, a period that many claimed that the band almost broke up over. So here they go, back in the studio, and they are able to take whatever issues that the band had at the time and fix those areas and problems. As we see in pop music today, too many bands inability to work as a group ultimately becomes their undoing. Lifes Rich Pageant is also a growth of lyrical ideology. For the first album the lyrics are more pointed and direct at the listener and political undertones become weaved in its inner fabric. Before this time, R.E.M. would not be considered a political or activist band although they did support various causes since their inception. They just never wanted to be branded as such. Lifes Rich Pageant blended a dose of political activism without being preachy. Where there had been political and or social ideals present on pretty much every R.E.M. album, the themes did not raise to the surface as much as it did on this one. Again, albums like Document and Green followed Lifes Rich Pageants lead and were a result in this change. Some might make cases for later works in the Warner Bros. years like ‘Out Of Time’, because of the hit ‘Losing My Religion’ or maybe ‘Automatic’. ‘Automatic For the People’ was a masterpiece, but it was not as important as “Lifes Rich Pageant’ in their overall sound.

Posted to Tracker Lossless (http://tracker.lossless.fr/torrents-details.php?id=557 hit=1) R.E.M 2008-03-21 Studios Canal, Paris, France VIDEO #1/1 (103:25) —————– 01. Living Well is the Best Revenge 02. Accelerate 03. Drive 04. What's the Frequency, Kenneth ? 05. Man-Sized Wreath 06. Hollow Man 07. Electrolite 08. Houston 09. Supernatural Superserious 10. Final Straw 11. Losing my Religion 12. I'm Gonna DJ 13. Walk Unfraid 14. Horse to Water 15. Until the Day is Done 16. Man on the Moon 17. Interview 18. Bonus : Tarata 2008 (Supernatural Superserious, Hollow Man, Interview, Losing My Religion)

Any fans out there from Chicago that are planning on going to the show. I am wondering if I should have a party or not or if it would be too many to do and just meet at a bar beforehand. Anyhow... please respond.... :)

ST. PAUL ON-SALE SATURDAY: Tickets for R.E.M.'s show at the Xcel Energy Center Theatre in St ...

R.E.M.'s stint in Austin this March leading up to the release of ACCELERATE included two memorable firsts: a concert for SXSW ...

According to this Billboard Article (http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003796636) it would seem that one reason to NOT boycott R.E.M. is their desire to pull out some gems from the early years. Peter Buck added: "[For] the last Dublin shows [in June and July 2007], we went back and learned a whole bunch of stuff from the early days we hadn't played in a long time, just to see where we came from, and it was pretty inspiring to play those," guitarist Peter Buck tells Billboard.com.Regarding upcoming dates, Buck says, "We're obviously going to play the new record ['Accelerate']; we've been playing nine songs off it, which is 28 minutes or something, so there's a lot of space for us to do stuff from all through our career." Also in regards to 'Around the Sun' this also seems more inspiring from Peter's mouth: "I think Mike [Mills] particularly was saying, 'God, I wish we could get back and record ['Around the Sun'] right now,'" Buck recalls. "I had no interest in making another record the way we'd been working -- book eight months in a studio and see what happens. I never liked that. I always complained and I always suggested that we work quicker and more spontaneously. The other guys [Mills and frontman Michael Stipe] weren't into it. "I think maybe the reception ['Around the Sun'] got kind of shocked them and made them realize ... I was right, we can't work like this any longer." Peter Buck prevails again! Truthfully I completely agree with him on the sense the band does not need a ton of time to finetune an album. I think you can ruin stuff that way. Back to the tour, this really gives me hope that the band will pull out some great songs while on tour. I think something needs to be mentioned that basically a generation of R.E.M. fans have never heard a lot of these songs live and it would be great to unearth them.

Who says that R.E.M. is not on the radio? They are being played on Liberty Rock Radio 97.8 (http://en.wikipedia.org/wiki/Grand_Theft_Auto_IV_soundtrack#Liberty_Rock_Radio_97.8) . Those of you gamers out there that want to play this game, R.E.M. is on the new Grand Theft Auto IV Game. Thera are in-game radio stations that you can listen to while driving around and Turn You Inside-Out is on rotation on this station. Various peaceniks around might find that this is a bit disturbing since Video Games have been proven to be very bad indeed for society. I still remember when I got Burger Time as a youth and then got fired after less than a week at McDonalds for walking all over the Big Macs.

Mike Mills was featured on a Podcast with Fastball's Miles Zuniga and Tony Scalzo. I have not had a chance to listen to it yet but you can listen to it here (http://www.modwinos.libsyn.com/index.php?post_id=331109). From the Site: We taped this episode at the Driskill Hotel. It's supposedly haunted but the only thing scary was the amount of wine we put away. It was 2005 Burgundy and so far I'm believing the hype. Pour yourself a glass and listen.

According to REMHQ (http://remhq.com/news_story.php?id=759) , R.E.M. is slated to play the Voodoo Music Festival, in New Orleans on October 24-26 (or my assumption would be that they would be playing on of these dates). You can also find more information about the Festival here (http://remhq.com/news_story.php?id=759) .

We are excited to announce that R.E.M. will play the 2008 Voodoo Music Experience in New Orleans on October 26th ...

“King Of Comedy” evolved from another unreleased song from the Monster sessions called “Yes, I Am Fucking With You.” I assume that there are two reasons why that title did not carry over to the finished product: First, and most obviously, it would have caused some problems for the band at retailers such as Walmart. Secondly, that title would’ve made it a little too easy for the listener because yes, Michael Stipe is fucking with you in this song.

There’s a great deal of irony on the Monster album, but “King Of Comedy” is by far the most ironic track, to the point that it’s very difficult to discern whether or not there’s even the tiniest moment of uncomplicated sincerity in its three minutes and forty-one seconds. Throughout Monster, Stipe distorts his voice in order to distance himself from his characters, and this song is the most extreme example, with his processed, mechanical staccato delivery rendering him nearly unrecognizable. The lyrics overflow with cynicism, not just in its advice for advancing a career in the arts, but also in how an artist relates to their audience. It’s easy to take it all as being a simple mockery of ambition and celebrity, but the reason the piece works comes down to the reality that on some level, Stipe relates to the pragmatism and pessimism in the song’s advice.

“King Of Comedy” speaks to a deep ambivalence about the singer’s motivation, and a conflict between self-image and public image. In a way, it picks up where “Turn You Inside-Out” leaves off, with a performer who has become acutely aware of the power he wields over an audience, and attempting to feel out a way to hang on to it while clinging to his dignity, ethics, and pride. At the end, when he repeatedly exclaims “I’m not commodity,” the emotional meaning seems to vacillate between mourning his complicity in the creation of his celebrity, and putting on a show of false modesty.

It’s worth noting that, even aside from its distorted lead vocal, “King Of Comedy” is a very strange sounding song. Monster is often written off as a “return to rock” album that doesn’t quite deliver, but that’s only if you’re expecting a straight rock record. The truth is, it’s more of a queer rock record, full of skewed, campy glam songs with audio textures that evoke a haze of super-saturated colors. The album doesn’t sound quite like anything else, and with its odd collision of industrial rock, arty noise, and disco, “King Of Comedy” in particular is unlike any other song I’ve ever heard.

Though I will always remain baffled by the band’s decision to leave “It’s A Free World, Baby” in non-album limbo, it’s not all that hard to understand why “Fretless” was discarded despite its obvious quality. The problem of “Fretless” is that while it is exceptionally good at evoking this potent, heartbreaking melodrama, it just seems so maudlin in the context of other R.E.M. songs, particularly those on Out Of Time. If it was going to work anywhere, it’d be Automatic For The People, but as far as songs about familial dissolution go, “Sweetness Follows” is far more successful, in part because it doesn’t seem to be actively tugging on the listener’s heart strings. Interestingly, “Fretless” may be the saddest song to ever feature a vocal performance by Kate Pierson — she sounds atypically cold and distant, but she ought to given that she’s standing in for the voice of the mother in this broken family.

In terms of craft, “Fall On Me” may very well be the finest pop song in the R.E.M. catalog. Like many of the best pop tunes, it lands in that rare sweet spot between complexity and simplicity in which every element of the song flows together so perfectly that the listener is so caught up in the effect of the composition that they may never stop to consider its components.

Hey, you know what? Let’s stop to consider the components.

1. There are several guitars — both acoustic and electric — playing on “Fall On Me,” but the arrangement is so light and airy that even when the song thickens on the chorus, the piece still feels light and airy. The shift in textures from one moment to the next is exceptionally subtle, and the mix is so crisp and clean that it’s hard to imagine there were actually any overdubs at all.

2. Mike Mills absolutely shines on this song. Most obviously, his high harmony vocals provide a crucial counterpoint hook in the chorus, but perhaps more importantly, his bass line lends the composition both a sense of lateral motion and emotional weight.  Whereas Michael Stipe’s vocals and Peter Buck’s guitar arpeggios seem to either ascend or hover over the ground, Mills parts tether the piece to the ground, and give voice to the understated melancholy at the heart of the song.

3. Though the lyrics of “Fall On Me” are somewhat vague for what essentially amounts to a protest song calling attention to our complicity in the deterioration of our natural environment, Michael Stipe’s voice and vocal melody is especially earnest and straight-forward. Arguably, this is the first truly mature performance of his career, and among the first Stipe performances to fully trade out slurred phrasing for a skewed approximation of R&B and gospel melisma.

4. Without Bill Berry, “Fall On Me” would be just another pretty folk-pop song.  Without upsetting the tone of the piece, his performance on the drums is remarkably brisk and assertive, which keeps the song from coming across as either wimpy or ethereal. Basically, the band applied 80s production value — loud, reverbed, hard-hitting drums –  to a 60s-style harmony-driven pop tune, and the result is something that feels rather timeless. If Mills’ parts connect the song to the ground, Berry’s parts (including his low vocal harmonies) are the earth itself — heavy, steady, and firm.

Posted to the Traders Den (http://www.thetradersden.org/forums/showthread.php?t=57468) R.E.M.Langerado Music FestivalBig Cypress, FLMarch 8, 2008Setlist:1. What's the Frequency, Kenneth?2. Living Well is the Best Revenge3. Bad Day4. Drive5. Fall on Me6. Hollow Man7. So. Central Rain8. Orange Crush9. Accelerate10. Imitation of Life11. Man-Sized Wreath12. Begin the Begin13. Electrolite14. Houston15. Losing My Religion16. Horse to Water17. Walk Unafraid18. The One I LoveEncore:19. Supernatural Superserious20. Auctioneer (Another Engine)21. I'm Gonna DJ22. Man on the MoonTotal time: 88 min 30 secMichael Stipe - vocalsPeter Buck - guitarMike Mills - bassScott McCaughy - guitarBill Rieflin - drumsVIDEO ATTRIBUTES:Source: AUD (tripod) > Mini DV Master > Firewire >Vegas 7.0 + VASST Double Take > DVD Architect 3.0Video System: NTSC 29.97 fpsVideo Bitrate: 7700 kbpsAspect Ratio: 16 x 9Camera 1: Sony DCR-PC100 by redpillCamera 2: Canon ZR70 by erictraderEdited, Synced and Authored by redpillAUDIO ATTRIBUTES:Source: Milab VM-44 LinkAudio Codec: AC3Audio Bitrate: 192 kbpsDVD9

A few quick highlights from earlier this week: HOLLOW MAN VIDEO PREMIERE The premiere for the Hollow Man video ...

R.E.M. has added a June 5th date at the Xcel Energy ...

Digital Arts has posted a thoughtful article on the Hollow Man video featuring a discussion with the video's creator/director Gary Thomas of ...