An R.E.M. discography
CHRONIC TOWN (1982)
Raw debut EP with both obvious influences (the Byrds, for one) and obvious potential. B
MURMUR (1983)
Their first full-length album, and a work of
unexpected depth and musical sophistication — from the guitar-driven
rush of ''Sitting Still'' to the sensual beauty of ''Perfect Circle.''
One of the most important albums of the '80s. A
RECKONING (1984)
Sophomore slump be damned: less cohesive, but
with crisper sound and more direct, more expansive songs, incorporating country and Southern psychedelia. A-
FABLES OF THE RECONSTRUCTION (1985)
Too much gothic atmosphere and
not enough memorable songs, but its most lyrical moments — ''Maps and
Legends,'' ''Driver 8'' — are breathtaking. B-
LIFES OF RICH PAGEANT (1986)
How to leap into the mainstream
without breaking your legs: vibrant songs, and sonic quality that
beefs up the sound without sacrificing subtlety. Their most hopeful
work. A
DEAD LETTER OFFICE (1987)
B sides, outtakes, polite and/or goofy
covers. For fans. C
DOCUMENT (1987)
The record that gave R.E.M. a top 10 hit (''The One
I Love'') mostly does no more than consolidate their strengths but has
moments of undeniable power and the most sardonic apocalypse ever
recorded, ''It's the End of the World as We Know It (and I Feel Fine).'' A-
EPONYMOUS (1988)
A compilation that tells a story: arty bohemians gradually coming to terms with a mass audience. B+
GREEN (1988)
Their first after moving from their independent label
to major- league Warner Bros. is downright schizophrenic: The rock is arena-ready, the acoustic interludes more fragile than ever. B+
