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DISCID=cc10cf10
DTITLE=R.E.M. / In Time [2]
DYEAR=2005
DGENRE=Alt. Rock
TTITLE0=Pop Song '89 [acoustic]
TTITLE1=Turn You Inside-Out [live]
TTITLE2=Fretless
TTITLE3=Chance (Dub)
TTITLE4=It's a Free World Baby
TTITLE5=Drive [live]
TTITLE6=Star Me Kitten [feat. W.S. Burroughs]
TTITLE7=Revolution
TTITLE8=Leave [alternate version]
TTITLE9=Why Not Smile [Oxford American version]
TTITLE10=The Lifting [demo]
TTITLE11=Beat a Drum [Dalkey demo]
TTITLE12=2JN
TTITLE13=The One I Love [live]
TTITLE14=Country Feedback [live]
TTITLE15=Bad Day [Video]
EXTD=In Time: The Best of R.E.M. 1988-2003 (Special 2CD Edition) : Rar
EXTD=ities and B-Sides\n2005 Warner Bros. Records, Inc.\n\nOriginally 
EXTD=Released October 28, 2003\nSpecial 2CD Edition Released October 2
EXTD=8, 2003\nDVDA Edition (CD & DVDA) Released March 1, 2005\n\nAMG E
EXTD=XPERT REVIEW: R.E.M. began their Warner contract in 1988 as the b
EXTD=iggest band to emerge from the college-radio-fueled American unde
EXTD=rground. Fifteen years later, they released In Time: The Best of 
EXTD=R.E.M. 1988-2003, the first overview of their long stint at Warne
EXTD=r Records. During that decade and a half, R.E.M. had a turbulent 
EXTD=journey. At the outset, their legend and influence as one of the 
EXTD=key -- if not the key -- bands of the American underground was fi
EXTD=rmly in place, but their success kept growing, culminating in a b
EXTD=reakthrough to international stardom in 1991 thanks to "Losing My
EXTD= Religion" and Out of Time. For a few years there, they were one 
EXTD=of the biggest bands in the world, standing as role models and go
EXTD=dfathers for the alt-rock explosion of the '90s; even as grunge r
EXTD=uled the U.S. and U.K., R.E.M. were having their biggest hits wit
EXTD=h the brooding Automatic for the People (1992) and the guitar-hea
EXTD=vy return-to-rock Monster (1994). Then, midway through the decade
EXTD=, the road got a little bumpy. The Monster tour was plagued with 
EXTD=problems, the most noteworthy being drummer Bill Berry's on-stage
EXTD= aneurysm in 1995. He left the band the next year, not long after
EXTD= the band parted ways with Jefferson Holt, their longtime manager
EXTD= who was immortalized in their 1984 song "Little America." Singer
EXTD= Michael Stipe, guitarist Peter Buck, and Mike Mills struggled to
EXTD= find their footing as a trio as they tackled more ambitious proj
EXTD=ects that found an ever more selective audience. Truth be told, t
EXTD=his transition started on the final Berry album, 1996's New Adven
EXTD=tures in Hi-Fi, which found R.E.M. expanding their sonic template
EXTD= to acclaim from critics and hardcore fans, even if they started 
EXTD=to see the audience they won over the previous decade start to sh
EXTD=rink. \n\nAll this means the Warner era for R.E.M. doesn't repres
EXTD=ent one particular phase of their career -- during their time at 
EXTD=Warner, they went through two phases, with the first half being t
EXTD=he culmination of their rise and the second being their awkward r
EXTD=eturn to cult status. This divide is clear and fairly easy to pin
EXTD=point. In his track-by-track liner notes (neatly mirroring his no
EXTD=tes for the 1987 rarities comp Dead Letter Office), Buck claims t
EXTD=hat dividing line is pre- and post-"Losing My Religion," which is
EXTD= true at least as far as stardom goes, but it could be argued tha
EXTD=t the classic period ended with Automatic, since that follow-up t
EXTD=o Out of Time showed that R.E.M. could not only live with the fam
EXTD=e, but flourish within it. Everything that followed Automatic cam
EXTD=e from a different narrative and derived from a different startin
EXTD=g point, one that was removed from the jangle pop that lay at the
EXTD= heart of their first ten years as recording artists. Related, ye
EXTD=s, but quite different -- more self-conscious, heavily produced, 
EXTD=and deliberate, occasionally reaping great results but just as of
EXTD=ten sounding labored. It was a great contrast to early R.E.M., wh
EXTD=ere the music seemed to flow naturally and easily. Though it has 
EXTD=no early IRS material, In Time paints this contrast effectively, 
EXTD=not only through the Green and Automatic material, but even throu
EXTD=gh more recent material -- the new song "Bad Day" and the 2001 re
EXTD=vamp of "All the Right Friends" (contrary to Buck's claim in the 
EXTD=liners that the band did cut this for IRS; it even appeared as a 
EXTD=bonus track to a European reissue of Dead Letter Office). Both ar
EXTD=e built on a swirling, jangling folk-rock guitar line, propulsive
EXTD= rhythms, intertwined vocal harmonies, and urgent vocals from Sti
EXTD=pe. In other words, they sound like classic R.E.M., and they shou
EXTD=ld -- they date from the '80s and bear co-writing credits with Be
EXTD=rry. Unfortunately, they sound much fresher than the other new so
EXTD=ng, the overly fussy "Animal," which is the problem with In Time 
EXTD=in a nutshell: the two phases of R.E.M.'s career don't sit well t
EXTD=ogether, but here, they're given close to equal space. R.E.M. the
EXTD= quartet does get more time than R.E.M. the trio, and the latter 
EXTD=did produce some really nice tracks, which are chronicled here: "
EXTD=The Great Beyond" is a minor masterpiece, "All the Way to Reno" i
EXTD=s the best of their faux-lounge phase, and "Imitation of Life" an
EXTD=d "Daysleeper" are good classicist R.E.M. Still, the immaculate p
EXTD=roduction of Pat McCarthy's work with Buck, Mills, and Stipe has 
EXTD=a denser, heavier, more laborious feel than Scott Litt's work wit
EXTD=h Berry, Buck, Mills, and Stipe, and the two not only don't fit t
EXTD=ogether, the oddity of the pairing points out that there are a nu
EXTD=mber of missing singles -- a full 17, if international releases a
EXTD=nd radio-only hits are counted (and, given the nature of '90s roc
EXTD=k, they do count). And these aren't minor songs, either; they're 
EXTD=modern rock radio staples: "Pop Song 89," "Texarkana," "Drive," "
EXTD=Ignoreland," "Bang and Blame," "Strange Currencies," "Crush With 
EXTD=Eyeliner," "Bittersweet Me," and "Shiny Happy People," the latter
EXTD= of which is roundly hated by the band yet nevertheless should be
EXTD= on a hits compilation for the sake of completeness. Of course, n
EXTD=ot all the songs could fit on a mere 18-track compilation -- and 
EXTD=if they went for a double-disc set, they'd be better off with a c
EXTD=areer-spanning set -- but the song selection leaves something to 
EXTD=be desired, even if it does present a reasonably accurate portrai
EXTD=t of R.E.M. the adult alternative pop band, and it certainly does
EXTD= point out the inconsistencies of the band's Warner work. So, in 
EXTD=that sense, In Time is an effective collection, but it also remai
EXTD=ns a little disappointing since it not only could have been done 
EXTD=better, but by its very nature, this compilation can't help but p
EXTD=oint out the creative cul-de-sac R.E.M. found themselves in at th
EXTD=e end of their Warner career. It's not the fate that anyone would
EXTD= have predicted in 1988. [In Time was reissued as part of Warner'
EXTD=s 2005 R.E.M. reissue series. Each album was presented in a doubl
EXTD=e-disc digipack, containing a CD on the first disc and a DVD-A ve
EXTD=rsion of the album on the second. The DVD for In Time includes a 
EXTD=5.1 Surround mix of the album, the video for "Bad Day," a "video 
EXTD=documentary," a rehearsal video for "Bad Day," and a photo galler
EXTD=y.] -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Review\nHo
EXTD=w do you condense 15 years of music down to 76 minutes? In the ca
EXTD=se of this survey of the second phase of R.E.M.'s career, the ans
EXTD=wer is: Exceptionally well. The dangling carrot for diehards is t
EXTD=wo new songs; the rapid fire "Bad Day" hurtles along like the kis
EXTD=sing cousin of "It's the End of the World as We Know It," while "
EXTD=Animal" is anchored by a majestic drone reminiscent of the Beatle
EXTD=s' "Tomorrow Never Knows." In a surprising, but gratifying move, 
EXTD=the rest of the program shortchanges the band's breakthrough, Out
EXTD= of Time (no "Shiny Happy People"), to better accommodate movie s
EXTD=oundtrack contributions, and spotlight gems from the less commerc
EXTD=ial, post-Bill Berry albums Reveal and Up; with its baroque piano
EXTD= and multi-tracked vocal harmonies, the Beach Boys homage "At My 
EXTD=Most Beautiful" is particularly gorgeous, while the burbling keyb
EXTD=oards and slightly dazed singing of "All the Way to Reno" will ap
EXTD=peal to Flaming Lips fans. --Kurt B. Reighley\n\nThis expanded ed
EXTD=ition covering the band's first decade-and-a-half at Warner now i
EXTD=ncludes a DVD featuring a new 5.1 surround sound mix of all the a
EXTD=lbum's tracks. That new bonus disc also features an October, '03 
EXTD=Vancouver rehearsal of the new song "Bad Day" that allows viewers
EXTD= the unique experience of switching between four different camera
EXTD= angles. Also includes the smart, network-news spoofing video for
EXTD= the same track. \n\nAmazon.com Album Description\nSPECIAL 2CD ED
EXTD=ITION: The two-CD set adds a 16-selection CD of rarities, includi
EXTD=ng live and acoustic versions of some of R.E.M.'s most popular so
EXTD=ngs, and a 40-page booklet. \n\nAmazon.com Album Description\nAft
EXTD=er putting Athens, GA, on the musical map in the early '80s, R.E.
EXTD=M. went on to become one of the world's biggest bands. Fusing fol
EXTD=k, garage rock, pop sensibilities, and insightful lyrics delivere
EXTD=d with Michael Stipe's inimitable lead vocals, these alt-rock for
EXTD=efathers built a massive indie following, and in 1988 unleashed t
EXTD=heir major-label debut, Warner Bros.' Green. This roots rock tour
EXTD= de force was followed in '91 by the Grammy-winning #1 blockbuste
EXTD=r Out of Time, which led to an ongoing stream of masterpieces. Th
EXTD=ese two classics, along with five more albums from R.E.M.'s extra
EXTD=ordinary catalog-plus their retrospective Best Of-now each featur
EXTD=e a Bonus DVD with Surround Sound audio and video extras. \n\nAma
EXTD=zon.com Customer Review\nNot Quite The Best Of REM, July 26, 2005
EXTD=\nReviewer: Michael Schoenborn (London, England) \nWhenever any b
EXTD=and (especially a band with the breadth of music and talent that 
EXTD=REM possess) releases a "Best Of", it is bound to disappoint fans
EXTD= and casual listeners alike. Generally speaking, it is more likel
EXTD=y to disappoint fans when their favourite non-single tracks are p
EXTD=assed up for the more mediocre but commercially successful single
EXTD=s. And casual listeners tend to bemoan the inclusion of songs tha
EXTD=t they have never even heard of. \n\nMoreover, this collection fa
EXTD=ces the added handicap of not covering some of REM's best work, p
EXTD=re-1988 (that having already been covered by their 1988 Best Of, 
EXTD="eponymous"). So you won't find "End Of The World", "The One I Lo
EXTD=ve", "Driver 8", "Superman" (which didn't make "eponymous" either
EXTD=) or "Radio Free Europe", etc. on this album. (Which is ashame gi
EXTD=ven that people have the option of making their own Best Of album
EXTD=s via downloading). \n\nBut even considering these handicaps, thi
EXTD=s CD still fails in its mission of covering REM's Best of 1988-20
EXTD=03. Why? \n\n1. The missing: \n"Bang and Blame", "Shiny Happy Peo
EXTD=ple", "Crush with Eyeliner", "Drive", "Bittersweet Me" and anythi
EXTD=ng from their MTV Unplugged (the acoustic "One I Love" is certain
EXTD=ly worth a download). \n\n2. The shouldn't be there: \na) New son
EXTD=gs ("Animal" and "Bad Day") are simply not REM's best. Unless the
EXTD= only qualification for that honour is being released on a CD cal
EXTD=led "the Best of REM". \nb) The soundtrack songs (especially "All
EXTD= The Right Friends" but also "The Great Beyond") are not up to pa
EXTD=r with the rest of the CD. \n\n3. Overall: \nThe album should hav
EXTD=e focused a bit more on "Out Of Time", "Automatic" and "Monster" 
EXTD=and less on the more obscure "Reveal" and "Up". Especially if it 
EXTD=was also going to gamble on new songs and soundtrack recordings a
EXTD=t the expense of classics. \n\nIn the end, I love REM and this is
EXTD= a reasonable attempt at their "Best Of". However, they turned a 
EXTD=compilation that could have been on par with U2's "Best of the 80
EXTD=s" into a compilation on par with U2's "Best of the 90s". \n\nAma
EXTD=zon.com Customer Review\nGood but flawed collection of late 80s-e
EXTD=arly 90s material, May 4, 2005\nReviewer: Greg Brady "columbusboy
EXTD=" (Capital City)\nThis does not claim to be the "all-time best" o
EXTD=f R.E.M. That's why you won't find songs like "It's the End of th
EXTD=e World as We Know It (And I Feel Fine)" or "Fall on Me" from the
EXTD=ir time on the I.R.S. records label. It also doesn't claim to be 
EXTD=a "greatest hits". Presumably then, this SHOULD be a collection o
EXTD=f the best of their radio singles of that time frame that "casual
EXTD=" fans will already know coupled with cherry-picked album materia
EXTD=l in an effort to convince fringe fans to pick up some more of th
EXTD=eir albums. This disc is middling when viewed that way. \n\nPROS:
EXTD= \n1) The band's generally acknowledged commercial and critical p
EXTD=eak (AUTOMATIC FOR THE PEOPLE) is well-represented with 3 tracks:
EXTD= "Everybody Hurts","Nightswimming" and "Man on the Moon". (Though
EXTD= "Drive" is also a highlight and frequently played on alternative
EXTD=/modern rock radio and really SHOULD be included as well) \n\n2) 
EXTD="The Great Beyond", though initially only released on the soundtr
EXTD=ack to the Andy Kaufman tribute film "Man on the Moon", truly IS 
EXTD=one of the band's finest moments between 1988-2003 and was a wise
EXTD= addition. \n\nCONS: \n1) "Out of Time" is arguably 1 of the 3 mo
EXTD=st popular of the band's albums (along with AUTOMATIC and GREEN) 
EXTD=but only "Losing my Religion" appears here. "Texarkana" and "Radi
EXTD=o Song" should also have made the cut as they're good, sound like
EXTD= the band, and would be "accessible" to casual fans. \n\n2) There
EXTD='s already a special edition 2CD version to drag in completists. 
EXTD=(The 2nd disc is nothing but B sides and other rarities) Leaving 
EXTD=the 2 new songs ("Bad Day" and "Animal") off this version as well
EXTD= as "All the Right Friends" (from the "Vanilla Sky" soundtrack) w
EXTD=ould have made room for better material for fringe fans. Those 3 
EXTD=could have been on the special edition. Release a CD single for "
EXTD=Bad Day" if you want casual fans who like the tune to be able to 
EXTD=buy it. \n\n3) "Monster" is admittedly not the most popular R.E.M
EXTD=. album among casual fans, but using the catchy "Bang and Blame" 
EXTD=might have been a way to attract more interest from those who've 
EXTD=thought "I only know 'What's the Frequency' on there!" \n\nBOTTOM
EXTD= LINE: \nIt's a pretty good collection but the omissions might ke
EXTD=ep casual fans from buying it. They'll probably try and wait unti
EXTD=l the day comes that a comprehensive set (including Warner Brothe
EXTD=rs AND I.R.S. material) of Greatest Hits/best of appears. Medium 
EXTD=fans who have an album or two will probably find this meets their
EXTD= needs best.\n\nAmazon.com Customer Review\nREM's unimaginative b
EXTD=est, July 11, 2004\nReviewer: MAGA (Lampasas, Texas United States
EXTD=) \nREM is one of the greatest bands ever, OK? I will never deny 
EXTD=that. I have all of their albums and have seen them many times in
EXTD= concert. However, there are two kinds of REM fans. There are the
EXTD= ones that have been with them all along and still like listening
EXTD= to "Murmur" and "Lifes Rich Pagent." Then there are those fans t
EXTD=hat love "Out of Time" and "Automatic For the People." Now, i wil
EXTD=l give you that Austomatic was a great album, Out of Time was not
EXTD=. However, the differences between the two groups are demonstrate
EXTD=d by a love of the early, non-commercial stuff and the mid '90s c
EXTD=ommercial stuff. The compilation is all about the mindless single
EXTD=s that gave REM mainstream success. Excluding "Electrolite," none
EXTD= of these songs really needed to be included for a "best of" albu
EXTD=m. It was an attempt by REM to pick up a paycheck because their m
EXTD=ost recent albums were not selling well. Sad but true.\n\nAmazon.
EXTD=com Customer Review\nThe first good thing since "Out of Time.", J
EXTD=une 24, 2004\nReviewer: A music fan\nIf that's a compliment.\nHer
EXTD=e's a new and strange recipe for success. Release an unlistenable
EXTD= album every 18 months or so, but make sure that there's at least
EXTD= one song per disc that will make a bit of a splash on the radio.
EXTD= Watch fans buy the record--hoping for more of the great sound th
EXTD=ey heard on the air--then watch these disappointed fans flood use
EXTD=d record stores across the country with a million billion copies 
EXTD=of Monster and Reveal. After fifteen years of this, select out a 
EXTD=few of the radio tracks and a few of the droning unlistenable stu
EXTD=ff, add two new tracks, re-release and re-repeat.\n\nI know: Ther
EXTD=e are two schools of thought here. One is that the early albums (
EXTD=Murmur, Reckoning) rocked hard and that everything after (with bu
EXTD=mps at Out of Time and Automatic) has been kind of a gradual desc
EXTD=ent into experimental stuff that sounds intriguing once, but whic
EXTD=h would never, ever make it into one's CD wallet for a long roadt
EXTD=rip. The other is that the band has been getting better and bette
EXTD=r with every album. Sorry to be blunt, but those who adhere to th
EXTD=is second point of view are members of a small and dedicated cult
EXTD= who are desperately trying to cling onto god-knows-what delusion
EXTD=s they have about this band. I'd never let any of these people wi
EXTD=thin a hundred yards of the CD player at a party.\n\nIf you're a 
EXTD=member of the esoteric order of Stipe and enjoy tracks like Revea
EXTD=l's "All the Way to Reno," then this is the album for you. Howeve
EXTD=r, if you like the early REM and the REM of the radio, you'll pro
EXTD=bably be better off getting one of your REM cultist buddies to ma
EXTD=ke you a mix tape. Not that I'm advocating piracy, but if this is
EXTD= the legal, band-selected "best of," that might be the only way t
EXTD=o get a good REM sampler.\n\nAmazon.com Customer Review\nA BETTER
EXTD= COLLECTION MAY COME ANOTHER DAY, June 24, 2004\nReviewer: Crabby
EXTD= Apple Mick Lee (INDIANAPOLIS, IN USA) \nIn many ways the 1990's 
EXTD=were not kind to R.E.M.. The band became fantastically popular du
EXTD=ring the early part of the decade-especially with OUT OF TIME-but
EXTD= the remaining years have seen the boys from Athens, Georgia sink
EXTD= almost to obscurity with increasing indifference greeting each n
EXTD=ew CD. It is tempting to date the start of this slide with the de
EXTD=parture of drummer Bill Berry; but the slide began before his cat
EXTD=atrophic health problems.\nThe truth is that most people tend to 
EXTD=either love or dislike any particular R.E.M. song. (With a couple
EXTD= of exceptions, I defy anyone to tell me what Michael Stipe is ta
EXTD=lking about,) There is hardly any middle ground. Hence, it is eas
EXTD=y for any listener to cherry pick his favorite songs from each al
EXTD=bum to come up with his own greatest hits CD. Approaching the R.E
EXTD=.M. songbook this way reminds us that even in the dark recent yea
EXTD=rs R.E.M. has had some excellent songs. Unfortunately, the listen
EXTD=er may also be caught by surprise at just how few songs from R.E.
EXTD=M. he actually likes-the standard length CD may in fact be too mu
EXTD=ch time to fill.\n\nThis collection begins with three excellent s
EXTD=ongs. "Man On The Moon" is the tribute to Andy Kaufman that slips
EXTD= from its subject to the transcendent in the course of five minut
EXTD=es. "The Great Beyond" likewise takes Andy Kaufman is its subject
EXTD= yet I have always felt it was a fitting epitaph to the baby-boom
EXTD= generation. "Bad Day" is a good R.E.M. rant and new contribution
EXTD= for this CD. \n\nWe then hit the buzsaw of "What's The Frequency
EXTD=, Kenneth?" and "All The Way To Reno"-two rather frantic songs th
EXTD=e Michael Stipe apparently likes but always struck me as rather t
EXTD=edious.\n\nThings pick up with "Losing My Religion"-a dramatic so
EXTD=unding song that many take literally about losing one's faith (it
EXTD=s actually a Southern expression meaning losing one's temper). "E
EXTD=-Bow The Letter" fills some space. \n\n"Orange Crush", "Imitation
EXTD= of Life" and "Daysleeper" again forms a trio of excellent songs 
EXTD=to hang your hat on. Of these, "Imitation of Life" is the most de
EXTD=serving of a fresh exposure as this is a song that really soars a
EXTD=bove most R.E.M. material but was unjustly ignored with the rest 
EXTD=of the UP CD.\n\nThe rest of this collection inspires the attenti
EXTD=on to drift. "Stand" and "Everybody Hurts" have long been popular
EXTD= favorites; but I don't think they survive the test of time. "At 
EXTD=My Most Beautiful" is supposed to be a tribute to the Beach Boys 
EXTD=and Brian Wilson but it ends up like many such tributes by windin
EXTD=g up being a pale imitation of the real thing.\n\nMany fans will 
EXTD=look at the playlist and ask "how come there's nothing from MURMU
EXTD=R or LIFES RICH PAGEANT?" A careful look at the title will reveal
EXTD= that this collection begins with 1988-the year R.E.M. made a lab
EXTD=el change. For a sampling of the early years, pick up a copy of E
EXTD=PONYMOUS. The more adventurous may find they'll like the early R.
EXTD=E.M. a little better.\n\nAmazon.com Customer Review\nSickening, M
EXTD=ay 15, 2004\nReviewer: Matthew Ridgway (Grand Rapids, Michigan Un
EXTD=ited States) \nAny true R.E.M. fan, and there aren't any post Bil
EXTD=l Berry, will tell you what a travesty this 'collection' is. To c
EXTD=all this a 'Best of' anything is either outright stupidity or bla
EXTD=tant ego-stroking.\nIf it makes the band feel better about themse
EXTD=lves to place Stipe tripe from the last two mediocre efforts alon
EXTD=gside classic stuff from Out of Time by all means do so, but I ch
EXTD=ecked out with Bill and they should have had the personal dignity
EXTD= to do likewise.\nI'm BEGGING you guys to stop, for the love of G
EXTD=od and all the fans like myself who try with all our might to def
EXTD=end how great you WERE to people who see how lousy you ARE.\n\nAm
EXTD=azon.com Customer Review\nYou're always "In Time" with R.E.M., Fe
EXTD=bruary 12, 2004\nReviewer: Timothy Brough "author and music buff"
EXTD= (Springfield, PA United States)\nThis is a curious way to get aq
EXTD=uainted with one of America's best bands. Frankly, if you're a fa
EXTD=n, it's likely that you already have all the songs on the single 
EXTD=CD version here (minus the two new selections - more on those lat
EXTD=er). If you desire more, pony up for the set with the bonus disc 
EXTD=of rarites and b-sides. That R.E.M. seemed to be in a state of pe
EXTD=rpetual flux makes them all the more interesting to listen to, as
EXTD= they consistently would release an album that would confound the
EXTD= expectations of fans of recordings that preceded. From the maste
EXTD=rful "Out Of Time" to "Monster" to "Up," there is hardly an album
EXTD= that you could call atypical. With the exception of Michael Stip
EXTD=e's unique lyrical bent and Peter Buck's angular guitar playing, 
EXTD=the main consistency about R.E.M. was change.\nThe main reason to
EXTD= own this then would either to be a newcomer looking for a few fa
EXTD=vorites or a die hard looking for new songs. "Bad Day" isn't exac
EXTD=tly a draw for me, it sounds too much like a rough draft of "It's
EXTD= The End Of The World As We Know It" to convince me otherwise, th
EXTD=ough it is amazing that the sentiments expressed on either song s
EXTD=till hold true today. "Animal" sounds like a little slice of "Mon
EXTD=ster" and is the better of the two. A little more kicking in the 
EXTD=rock department and a little fresher sounding. And even though "T
EXTD=he Great Beyond" was out on a soundtrack and CD Single, it's nice
EXTD= to have it on a proper R.E.M. album. \n\nIt's also nice to have 
EXTD=the highlights of "New Adventures In Hi-fi," "Up," and "Reveal" m
EXTD=ixed in, as I feel these albums to be vastly underrated. The walt
EXTD=zing "Daysleeper" is one of my favorite R.E.M. songs, and Patti S
EXTD=mith's contribution to "E-Bow the Letter" should make any band je
EXTD=alous. Of course the "hits" are here, too, even if this isn't bil
EXTD=led as a greatest hits CD. "Losing My Religion," "Everybody Hurts
EXTD=" and "Stand" were the songs that made each of their respective a
EXTD=lbums connect with the radio listening public. (Caveat inserted, 
EXTD="Shiny Happy People" isn't here, but no big loss, in my opinion.)
EXTD=\n\nAs Peter Buck puts it on the CD's fine liner notes, R.E.M.'s 
EXTD=career is pretty much divided into pre and post "Losing My Religi
EXTD=on." It's wonderful to have both sides of the mountain on one dis
EXTD=c. I give "In Time" four stars for much the same reason I gave 10
EXTD=,000 Maniacs' "Campfire Songs" collection the same rating. Since 
EXTD=this is a band that makes consistent albums, the kind you can lis
EXTD=ten to all the way through, you can do just as well with most any
EXTD= album. But for a good, casual listen, "In Time" turns the trick 
EXTD=very nicely.\n\nAmazon.com Customer Review\nCompelling comp that 
EXTD=begs re-evaluation of their catalogue, October 31, 2003\nReviewer
EXTD=: David Pearlman "sound fanatic" (Arlington, MA United States) \n
EXTD=Common wisdom on R.E.M.: Their IRS years were artistically the be
EXTD=st, the Warner years their most commercial. Artism and commercial
EXTD=ity came together for Automatic for the People, and then the band
EXTD= sank in sea of directionless, mostly hitless post Automatic albu
EXTD=ms. \nThe truth: Monster, Automatic's followup, was a failure, bu
EXTD=t it was really the only failure in their career (maybe second, d
EXTD=epending on how you feel about 1988's Green). While Monster was t
EXTD=oo noisy and too short on memorable tunes, the followup, New Adve
EXTD=ntures in Hi Fi, toned things down and upped the songwriting qual
EXTD=ity. 1998's Up improved things even more, and 2001's Reveal is, I
EXTD= believe, the sleeper album in R.E.M.'s catalogue: One of their a
EXTD=bsolute best albums ever, released at a time when they'd pretty m
EXTD=uch falled out of commercial favor.\n\nGiven that the truth and t
EXTD=he common wisdom are hardly coincident, it's probably not that su
EXTD=rprising how good this best-of plays. Most of the expected staple
EXTD=s are here, for sure, and they're surely familiar enough to anyon
EXTD=e with even a modest interest in R.E.M. to be beside the point. B
EXTD=ut it's the remainder of this collection that really drives home 
EXTD=the point that R.E.M. is still an important band. One would be ha
EXTD=rd pressed to argue that lesser-heard tracks such as All the Way 
EXTD=to Reno or Electrocute aren't at least the equal of any hit the b
EXTD=and has put out. And the two "new" tracks that flesh out this col
EXTD=lection, particularly "Bad Day", while obviously included as lure
EXTD=s to those who already own all the band's albums, are of a piece 
EXTD=with the rest of the collection.\n\nSure, one can nit-pick the tr
EXTD=ack listing. Personally, I'd gladly toss off Stand and What's the
EXTD= Frequency Kenneth, and I and wonder why a great song like Me in 
EXTD=Honey didn't make it. But those are just personal preferences. Th
EXTD=is obviously carefully chosen collection does what it should: Hig
EXTD=hlight the band's strengths, and strengthen the highlights of the
EXTD= bands output through context.\n\nAs for the bonus disc in the sp
EXTD=ecial edition, it's a pretty swell addition for fans, with some k
EXTD=ey b-sides, as well as alternate versions of some of their best a
EXTD=lbum tracks. This disc will play as a must for any fan, and a wel
EXTD=come edition for anyone just catching up now.\n\nHalf.com Details
EXTD= \nContributing artists: Patti Smith \nProducer: Bertis Downs (Co
EXTD=mpilation) \n\nAlbum Notes\nR.E.M.: Michael Stipe, Peter Buck, Mi
EXTD=ke Mills, Bill Berry.\nIncludes liner notes by Peter Buck.\nR.E.M
EXTD=.: Michael Stipe (vocals); Peter Buck (guitar, mandolin); Mike Mi
EXTD=lls (bass guitar); Bill Berry (drums).\n\nMany of those who rever
EXTD=e R.E.M. tend to fixate on the Athens band's earlier days, when t
EXTD=he Byrds-gone-new-wave jangle of Peter Buck's guitar and the insc
EXTD=rutable murmurs of curly-headed frontman Michael Stipe ruled the 
EXTD=college-rock roost and set the standard for what came to be known
EXTD= as "alternative rock." Thus, it's often overlooked that the band
EXTD= didn't simply fade away after breaking through to the mainstream
EXTD= in the late-'80s. True to its title, IN TIME: THE BEST OF R.E.M.
EXTD= (1988-2003) chronicles the journey the group made after they bec
EXTD=ame stars.\nEver willing and able to defy expectations, R.E.M. st
EXTD=eadfastly refused to commercialize their sound or tart it up to f
EXTD=it the arenas that became their venues. IN TIME addresses the pro
EXTD=lific 1988-1992 era with everything from the driving fan-favorite
EXTD= "Orange Crush" to the transcendent, tension-filled folk-rocker "
EXTD=Losing My Religion" and the soul-influenced, empathetic anthem "E
EXTD=verybody Hurts." Representing their days after the departure of d
EXTD=rummer Bill Berry are songs such as the dusty desert twang of "Al
EXTD=l the Way to Reno" and the "It's the End of the World As We Know 
EXTD=It" companion piece, "Bad Day." Observing their chosen post-fame 
EXTD=path, it's obvious that long after Stipe had shorn his locks and 
EXTD=the music industry made them rich, R.E.M. remained staunchly comm
EXTD=itted to creating the kind of artful, idiosyncratic music that ha
EXTD=d made them alt-rock icons in the first place.\n\nIndustry Review
EXTD=s\n...Hearing all these tracks on one collection makes it pleasin
EXTD=gly apparent that this is one of the very few commercially succes
EXTD=sful bands that have maintained quality songwriting throughout it
EXTD=s career without selling out once...\nCMJ (11/03/2003)\n\n4 stars
EXTD= out of 5 - 'Country Feedback', always a favourite of 'true' fans
EXTD=, is rendered here in all its half-spoken, ragged glory, pure spi
EXTD=lt essence of R.E.M.\nUncut (01/01/2004)\n\n4 stars out of 5 - Tw
EXTD=o CDs of some of the most melodic and fiercely intelligent music 
EXTD=of the last 15 years...\nMojo (12/01/2003)\n\n4 stars out of 5 - 
EXTD=...Supremely melodic, slightly unsettling music that, in its arch
EXTD=etypally opaque way, has usually managed to soundtrack it time...
EXTD=\nQ (12/01/2003)\n\n...The band's most user-friendly album....Wee
EXTD=py keepers like Losing My Religion and Everybody Hurts [join] two
EXTD= new songs [that] fall firmly within the group's tradition of bea
EXTD=tific/moody sing-alongs you can't get out of your head... - Ratin
EXTD=g: A-\nEntertainment Weekly (10/31/2003)\n\n4 stars out of 5 - ..
EXTD=.[This] retrospective of the more cerebral Warner years shows tha
EXTD=t R.E.M. stuck to their principles and kept on their path...\nRol
EXTD=ling Stone (11/27/2003)
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