Putting together a good 'Best Of' compilation is a difficult task. On one hand you have to include the 'hits' from your back catalogue, in this case constrained between the years 1988 and 2003. This ensures a true representation of the band's achievements. The other goal is a commercial one. You have to ensure that fans will buy it. If it is just a collection of album tracks, only fringe buyers will chance a purchase, whereas the fans will already have all tracks on the past albums. The bottom line is that record companies want to make money. And when they've made money, they want to make more money. And a 'greatest hits', 'best of' or 'definitive collection' is a good way of giving the band more exposure and making more money.There are three buyers here: opportunists, 'fringe' fans and 'true' fans. Opportunists are those who have never heard of the band, but have heard a few tracks and don't want to wade through massive oceans of CDs to find what they want. It is more convenient to buy the 'best of'. And these are the kind of people you want - they will be getting a record that kick starts their fandom and turns them into a fan. There will be those in the grey area who own a few albums but that just complicates things. There will inevitably be some fans who have some albums but they are likely to be 'Automatic For The People' and/or 'Out Of Time'. They may not be interested in the rest of the back catalogue but like a few tracks from some of the albums represented. We will call these 'fringe' fans. The 'true' fans will have every record R.E.M. have ever made. These are the hardest to convince as they are duplicating what they already own. Sure, some obsessed fans will buy it anyway because it is an R.E.M. record and they have them all, including all the Japanese and US imports, singles and albums. We won't worry too much about them...
What R.E.M. have done (and we will claim this is a product of the band and not the record executives, as it is impossible not to see the band's input here) is to release a compilation of well known 'hits' from 1988 to 2003 coupled with an optional extra package of b-sides and rarities. So, the album is released in two forms: a single eighteen track compilation of mainly album tracks and a two disc set including the single disc and an additional fifteen track 'rarities and b-sides' disc (for a higher price). People interested in purchasing a best of compilation, because they have none or few of the original albums, will only be interested in the first version. The rarities and b-sides will be of no interest to them. They will want to hear 'Losing My Religion' and 'Everybody Hurts' on the same album, and that's it. So what is the second version for? Fans, of course - to get them to buy the special version for the rarities, most of which they may already have.
R.E.M. have seven albums worth of tracks to choose from. The albums released since 1988 are 'Green', 'Out Of Time', 'Automatic For The People', 'Monster', 'New Adventures In Hi-Fi', 'Up' and 'Reveal'. Already, putting together twenty or so tracks from this is an unfathomable undertaking. For a start, there are half a dozen candidates from 'Automatic For The People' alone, not to mention about the same from 'Out Of Time'. Commercially these two albums lifted R.E.M. from having a cult following into the mainstream. And this is were the problems begin. Most 'fringe' fans will have the two albums mentioned. The albums are simply the most likely bought based on statistics. So why bother including a lot of tracks from these albums? If the whole point of a 'best of' is to get 'fringe' fans to buy, they won't want an album full of tracks from the albums they already own.
The Review
The first comment is a simple one. The existence of two versions of this album is shameful. If the band want 'true' fans to buy an album that contains album tracks they already own on the original albums, the least they can do is release a compromise album (i.e. the second version with the extras) at a normal price. This way, everyone buys the same version at a good price. If you want to be bothered with the extras, then fine, otherwise you stick to the hits. Also, if the first version was the only one available, the existence of 'The Great Beyond', 'Bad Day', 'Animal' and 'All The Right Friends' would do little to convince 'true' fans (and most 'fringe' fans) to buy it. Only 'Animal' is (currently) unreleased.
As a review, it wouldn't make much sense to focus on the two versions separately. Given that there are seven albums, countless singles, a handful of soundtrack songs, guest spots and live tracks to choose from, the review will deal with each album in turn and comment on the extras from each album's release period (i.e. b-sides from the album's singles and live album tracks). Anything not covered will be discussed afterwards.
The inclusion of the non-album tracks 'The Great Beyond', 'Bad Day', 'Animal' and 'All The Right Friends' is an interesting discussion point. 'The Great Beyond' is definitely in. It is the best non-album track and it was a good single. 'Bad Day' is a good addition but its inclusion undermines the concept of 'best of' as it is a newcomer. It does, however, sound as relevant today as it was when it was dropped from the 'Life's Rich Pageant' sessions nearly two decades ago, in whatever form it was in then. Whatever, the band have brought it right up to date. Yes, it echoes the opening of 'It's The End Of The World As We Know It (And I Feel Fine)' but we can forgive that. It is a great nod back to the old days. 'Animal' sounds like an omission from 'Monster' and 'All The Right Friends' is a weak track from the 'Vanilla Sky' soundtrack and another new addition.
There are two album tracks from Green: 'Orange Crush' and 'Stand'. 'Pop Song '89' has been added in the form of the acoustic b-side to the original single and similar in vocal arrangement to the version performed in the MTV unplugged set. 'Turn You Inside-Out' is the live version taken from the glorious Tourfilm with the band at their best and Stipe using a megaphone on the chorus. And that's it. This is an album that kick started R.E.M. into the mainstream and only two studio tracks have been included. The exclusion of 'World Leader Pretend' is the noticeable one. The acoustic 'Pop Song '89' is fairly weak and folksy and fails to capture the urgency of the original. The live 'Turn You Inside Out' is, however, spectacular. Stipe's use of the megaphone is comparable to Mills' backing vocals, which are both spot on. Bill Berry and Peter Buck (and Mills on bass) thrash out the rest in incomparable style. This is the first official audio lift from this movie.
'Out Of Time' is the biggest shock. Two tracks! The album version of 'Losing My Religion' and a live rendition of the brilliant 'Country Feedback' (this is the most recent live recording, brought right up to date with a new introduction to start). Stipe introduces it as his favourite song - a running joke as his favourite seems to change from one set to the next, and who can blame him with such a wonderful back catalogue to choose from. Also, Peter Buck provides us with the guitar solo of his, and the band's, life. There is no 'Shiny Happy People', which is no surprise but the singles 'Radio Song' and 'Near Wild Heaven' are huge holes. 'Half A World Away' and 'Me In Honey' are also massive non-singles which would probably have been made into singles if the album was released today.
'Automatic For The People', as mentioned before, is a huge problem. Despite this, seven tracks from the album, and the era, have been included. The studio versions of 'Man On The Moon', 'The Sidewinder Sleeps Tonite', 'Everybody Hurts' and 'Nightswimming' come as no surprise. The live version of 'Drive' that became a favourite in gigs is a great choice. It is so different from the original and has a certain charming swagger to it, like it's been tilted on its side.
'Chance (Dub)' is not a great track or particularly memorable (that's why it is a b-side). It's inclusion is baffling. Also, the version of 'Star Me Kitten' with William Burroughs (from the X-files inspired by soundtrack) is bizarre in the extreme. To be brutally frank, it's horrible and highlights the hidden expletive from the original in a blatantly harsh way. It's hardly noticeable on the original due to Stipe's soft vocals and some great production. There is an argument to say that the original should be on the 'best of'...
Two tracks not represented are 'Try Not To Breathe' and 'Find The River'. They MUST be on any R.E.M. best of. No arguments. The latter was a popular single among fans which can be a rare thing these days. It is easy to see that 'Chance (Dub)' and 'Star Me Kitten' cannot be directly replaced due to the nature of the two disc format but 'Animal' and 'All The Right Friends' certainly can.
'Monster' is arguably the worst ever R.E.M. album. This may explain why only one track - 'What's The Frequency, Kenneth?' has been included. It is a great track and another punchy single. Out of the rest, you could have 'Bang And Blame' and 'Crush With Eyeliner'. 'Strange Currencies' is a rework of 'Everybody Hurts' but is still a high point on the otherwise weak album. 'Let Me In' has a place in the hearts of Nirvana fans as it is reportedly about the death of Kurt Cobain. It is also a beautifully dark track, something that is a real rarity in R.E.M. land. Even 'true' fans would have little argument with the exclusion of many of these tracks.
'New Adventures In Hi-Fi' is another shock to the system with only 'E-bow The Letter' and 'Electrolite' - two popular singles - included. It is a fantastic and underrated album that is a real life after the lows of 'Monster' and showed a real return to form (and captures a lot of what the band tried to do on the previous outing). The omission of 'Leave' is made up for only by the addition of the 'The Life Less Ordinary' soundtrack version. It is very different but the essence is captured in Stipe's amazing vocals, but that wonderful sharp guitar hook is missing. But 'Undertow', 'Bittersweet Me', 'Be Mine' and 'Low Desert' are nowhere to be seen and don't even get a mention on the extras disc. The omission of the sublime 'Be Mine' must be a mistake. 'How The West Was Won And Where It Got Us' was another single (maybe US only) and a cracking track from a good and varied album.
From 'Up', the most obvious absentee is 'Why Not Smile' so it's adequate that the 'Oxford American Version' is on the extra disc. This is a b-side to 'Daysleeper' so it's not that rare. Again, it is basically the same as the album version because it is vocally lead and has a simple musical arrangement. The album tracks on the 'best of' are 'At My Most Beautiful' and 'Daysleeper'. There is no 'Walk Unafraid' or 'Suspicion'. This is an odd-ball album and a real mixed bag so the tracks are harder to choose and the choice is subjective. Maybe two album tracks, plus an extra, is a good compromise.
'Reveal', another weaker album, starts with 'All The Way To Reno', an overrated track and a strange choice for a single, and 'Imitation Of Life', which is much much better. There are two demos from Reveal - 'The Lifting' and 'Beat A Drum'. The latter is better but fails to capture the momentous second half of the original, focusing instead on simple piano and vocals. Both are basic stripped down (or non stripped-up) renditions.
The third extra is '2JN', another b-side from the fantastic 'Imitation Of Life'. It is an instrumental that does nothing to enhance the second disc. And most 'true' fans are going to already own this (the single has the DVD of the track which is one of the best R.E.M. videos ever). This is nowhere near close to a fair compromise because 'I'll Take The Rain' is not included. If it wasn't for this track, the last three tracks would flatten the album and send it veering off into Monster territory.
Of the non-album track extras, Fretless is a great dark moment from the 'Until The End Of The World' soundtrack and also a b-side to 'Losing My Religion'. It is a welcome extra. 'It's A Free World Baby' (from Coneheads) is another laboured affair and can also be found as a b-side on 'Drive' (from Automatic For The People), and like 'Fretless', it is not difficult to find. Stipe is singing in totally the wrong key and the rest of the band have very little to do. 'Revolution' is also included (again, from another 'inspired by' soundtrack - this time from the dire 'Batman & Robin'). It sounds like an 'old' track but was penned in 1994 and again, is far from being one of the bands best tracks.
The penultimate track on the extras disc is a live version of 'The One I Love' recorded in 2001. It kind of works with the plucky acoustic backing and Stipe's reflective controlled vocals. It used to be a track where he could really let go. Not any more. This is also outside of the 1988-2003 time frame in terms of a studio version despite being recorded very recently. There are probably hundreds of live recordings from the last ten years that could be included. The solution is to compile a live album...
The Verdict (and proposed Alternative album tracks)
'The Best of R.E.M. (In Time 1988-2003)' is a disappointing album. 'Reveal' was released in 2001 and the band haven't released an album since. So, to throw 'Bad Day' and 'Animal' in to justify the 2003 time frame is a strange choice. 'Bad Day' is a good track (and the video is extremely well thought out and relevant in today's climate) but 'Animal' is a b-side at most. 'All The Right Friends' also could be replaced which would give an eighteen track disc one that looks something like this:
1. Man On The Moon
2. The Great Beyond
3. Bad Day
4. What's The Frequency, Kenneth?
5. Losing My Religion
6. E-Bow The Letter
7. Orange Crush
8. Imitation Of Life
9. Daysleeper
10. Near Wild Heaven
11. The Sidewinder Sleeps Tonite
12. Stand
13. Beat A Drum
14. Everybody Hurts
15. World Leader Pretend
16. At My Most Beautiful
17. Be Mine
18. Nightsimming
That gives an extra track from 'Green' ('World Leader Pretend'), an extra track from 'New Adventures In Hi-Fi' ('Be Mine') and adds the wonderful 'Near Wild Heaven' from 'Out Of Time'. It also throws away 'Animal' and 'All The Right Friends'. Neither one is as good as the tracks that replace them. The other two casualties are 'All The Way To Reno' (from 'Reveal') and Electrolite (from 'New Adventures In Hi-Fi'). The former is directly replaced by a track from the same album - 'Beat A Drum', leaving Reveal with two tracks: 'Imitation Of Life' and 'Beat A Drum'.
As for the rarities and b-sides, that becomes more difficult. The following shows the strength of each track on the second disc.
1. Pop Song ' 89 (acoustic) IN (or replace with the original from 'Green')2. Turn You Inside-Out (Live) IN
3. Fretless IN
4. Chance (Dub) OUT
5. It's a Free World Baby OUT
6. Drive (Live) IN
7. Star Me Kitten OUT
8. Revolution OUT
9. Leave (Version) IN
10. Why Not Smile (Version) IN
11. The Lifting (Demo) OUT
12. Beat A Drum (Demo) OUT
13. 2JN OUT
14. The One I Love (Live) OUT
15. Country Feedback (Live) IN (or replace with original from 'Out Of Time')
This leaves us with only seven tracks for the extras disc, leaving enough space to add a few more gems, instead of filling the extras disc with nonsense. This could have very easily been added to the main disc as a single version two disc set. Out of the seven tracks, the live versions of 'Country Feedback' and 'Turn You Inside-Out' are essential and not currently officially available in audio form.
Other candidates for the extras disc is 'Love Is All Around'. This manifested itself as a b-side to 'Radio Song' as a live version (for Rockline in April 1991) or as a studio version for the 'How The West Was Won And Where It Got Us' single and 'I Shot Andy Warhol' soundtrack. Also on the same disc is 'Sponge' from the Vic Chesnut tribute album.
From the 'E-bow The Letter' collectors edition single is the cover of Richard Thompson's 'Wall Of Death'. The 'Bittersweet Me' single also has 'Wichita Lineman'. Speaking of cover versions, R.E.M teamed up with Billy Bragg for 'Tom's Diner' which is an interesting version. The collectors edition of 'Drive' has a glorious version of 'First We Take Manhattan' by Leonard Cohen, taken from his tribute album.
An R.E.M. fan wouldn't be an R.E.M. fan if they couldn't put together their own compilation. And to make things practical, the Underwurld 'best of' will consist of the same number of tracks across both discs of the 'special' version - the intention being that it would be released as a single two disc version and not two versions. It will take tracks primarily from the seven studio albums plus a few extras and no live tracks. The reason being if live tracks can be included then that means anything from the back catalogue as long it's live. Unfortunately this means the exclusion of the brilliant live funky-swagger version of 'Drive' which was preferable to the version recorded on 'Automatic For The People' and also the new 'Country Feedback'. But we will come back to that later. Capturing R.E.M. in 'live' mode is a valuable part of this process, despite the lack of any official 'live' albums.
The Underwurld R.E.M. 1988-2003 Best Of...
Pop Song '89
Stand
World Leader Pretend
Orange Crush
Turn You Inside Out
Radio Song
Losing My Religion
Near Wild Heaven
Half A World Away
Country Feedback
Me In Honey
Drive
Try Not To Breathe
The Sidewinder Sleeps Tonite
Everybody Hurts
Man On The Moon
Nightswimming
Find The River
What's The Frequency, Kenneth?
Strange Currencies
Bang And Blame
Let Me In
Undertow
E-Bow The Letter
Leave
Bittersweet Me
Be Mine
Low Desert
Electrolite
At My Most Beautiful
Walk Unafraid
Why Not Smile
Daysleeper
The Lifting
Beat A Drum
Imitation Of Life
I'll Take The Rain
extras
The Great Beyond
Fretless
Drive (Live Version - because it's sooooo good)
This is a basic, no frills collection of songs from a varied and high quality back catalogue by a band who, at their best (which is often), are very hard to beat. Yes there is a lot of music here but R.E.M. made a lot of music in sixteen great years. You can't really win with a 'best of' because true fans already have the songs, so let us all remember what they are. A Celebration of great music.
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