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░█ ██ ██ ▒██ █ ▓█ ███░ ████░ REM - The Best Of REM 1988-2003-Limited Edition Bonus CD
██ █▒ ██ ███ █ ██ ██ ░████▓ ─────────────────────────────────
█▓ █ ██ ██ █ ██ ██ ▓████▓ Supplier....: Team MND
▄▓██▓ ▒ ██ ███▓ ░█ █▒█▀ ██████ Ripper......: Team MND
▐█ ░▓░ ▒████ ▓█ ▓█ ▓██▒ ░█████ Quality.....: 192kbps
▓█░ ▒▓██▒ █▓ ██░██ ░ ░░█████ Release Date: Oct-24-2003
██▒▒░ ▓███████████▓▀ █████░ Source......: CDDA
██▓▓▓▒ ▓██████ █ ░ ▒██████▌ Genre.......: Rock
████████████████░ ░ ░█████████▀ Total Tracks: 15
█ ███ ░▒░██████████████████ Playtime....: 61:13 min
█ ░ ▓█ ░██████████████▓ CD Size.....: 84,3 MB
███▒▓█████▄▄▄▄█████████▒──────────────────────────────────────────────┐
│ TrackListings │░
│ ·───────────────· │░
│ 01 - Pop Songs '89 (Acoustic) [02:58] │░
│ 02 - Turn You Inside-Out (Live) [04:18] │░
│ 03 - Fretless [04:51] │░
│ 04 - Chance (Dub) [02:34] │░
│ 05 - It's A Free World Baby [05:13] │░
│ 06 - Drive (Live) [04:01] │░
│ 07 - Star Me Kitten (Feat. W.S. Burrouchs) [03:31] │░
│ 08 - Revolution [03:05] │░
│ 09 - Leave (Alt. Version) [04:43] │░
│ 10 - Why Not Smile (Alt. Version) [03:02] │░
│ 11 - The Lifting (Demo) [05:21] │░
│ 12 - Beat A Drum (Demo) [04:28] │░
│ 13 - JN [03:27] │░
│ 14 - The One I Love (Live) [03:25] │░
│ 15 - Country Feedback (Live) [06:16] │░
│ │░
└────────────────────────────────────────────────────────────────┘░
Release Info
·─────────────·
────────────────────────────────────────────────────────────────┐
│ RNS Quote │░
│ Enjoy this best of compilation by one of the │░
│ greatest bands alive. │░
│ │░
│ MnD is very proud to present you │░
│ REM-In Time: Best Of 1988-2003 (Limited Edition with 2CD) │░
│ Biggest release in the history of MnD i guess :) │░
│ │░
│ http://www4.cd-wow.com/detail_results.php?product_code=7670 │░
│ CD1 had 18 Tracks, i wouldn't like this great release to be │░
│ nuked because of RNS dupe, so i added it to our internals :) │░
│ │░
│ Our other MnD REM Releases │░
│ REM-Chronic_Town-1982-MnD_INT │░
│ REM-Murmur-(with_bonus_tracks)-1983-MnD_INT │░
│ REM-Reckoning-(with_bonus_tracks)-1984-MnD_INT │░
│ REM-Fables_Of_The_Reconstruction-1985-MnD_INT │░
│ REM-Lifes_Rich_Pageant-European-1986-MnD_INT │░
│ REM-Document-European-1987-MnD_INT │░
│ REM-Green-1988-MnD_INT │░
│ REM-Out_of_Time-1991-MnD_INT │░
│ REM-Automatic_For_The_People-1992-MnD_INT │░
│ REM-Monster-1994-MnD_INT │░
│ REM-New_Adventures_In_Hi-Fi-1996-MnD_INT │░
│ REM-Up-1998-MnD_INT │░
│ REM-Reveal-2001-MnD_INT │░
│ REM-In_Time-The_Best_Of_REM_1988-2003-Limited_Edition-2CD-2003-MnD_INT
│ │░
│ Enjoy this Great MnD Release... ;) Greets from Kgoof │░
│ Greets to RNS for releasing the 1CD retail... │░
│ Personal greets to JAH for nfo info │░
│ │░
│ R.E.M. mark the point when post-punk turned into │░
│ alternative rock. When their first single, "Radio Free │░
│ Europe," was released in 1981 it sparked a │░
│ back-to-the-garage movement in the American underground. │░
│ While there were a number of hardcore and punk bands in │░
│ the US during the early '80s, R.E.M. brought guitar-pop │░
│ back into the underground lexicon. Combining ringing │░
│ guitar hooks with mumbled, cryptic lyrics and a D.I.Y. │░
│ aesthetic borrowed from post-punk, the band simultaneously │░
│ sounded traditional and modern. Though there were no overt │░
│ innovations in their music. R.E.M. had an identity and │░
│ sense of purpose that transformed the American │░
│ underground. Throughout the '80s, they worked │░
│ relentlessly, releasing records every year and touring │░
│ constantly, playing both theaters and backwoods dives. │░
│ Along the way, they inspired countless bands, from the │░
│ legions of jangle-pop groups in the mid-'80s to scores of │░
│ alternative-pop groups in the '90s, who admired their slow │░
│ climb to stardom. It did take R.E.M. several years to │░
│ break into the top of the charts, but they had a cult │░
│ following from the release of their debut EP, Chronic │░
│ Town, in 1982. Chronic Town established the haunting folk │░
│ and garage rock that became the band's signature sound, │░
│ and over the next five years, they continued to expand │░
│ their music with a series of critically-acclaimed albums. │░
│ By the late '80s, the group's fanbase had grown large │░
│ enough to guarantee strong sales, but the Top 10 success │░
│ in 1987 of Document and "The One I Love" was unexpected, │░
│ especially since R.E.M. had only altered its sound │░
│ slightly. Following Document, R.E.M. slowly became one of │░
│ the world's most popular bands. After an exhaustive │░
│ international tour supporting 1988's Green, the band │░
│ retired from touring for six years and retreated into the │░
│ studio to produce their most popular records, Out of Time │░
│ (1991) and Automatic for the People (1992). By the time │░
│ they returned to performing with the Monster tour in 1995, │░
│ the band had been acknowledged by critics and musicians as │░
│ one of the forefathers of the thriving alternative rock │░
│ movement, and they were rewarded with the most lucrative │░
│ tour of their career. Toward the late '90s, R.E.M. was an │░
│ institution, as its influence was felt in new generations │░
│ of bands. │░
│ Though R.E.M. formed in Athens, Georgia in 1980, Mike │░
│ Mills (b. December 17, 1958) and Bill Berry (b. July 31, │░
│ 1958) were the only Southerners in the group. Both had │░
│ attended high school together in Macon, playing in a │░
│ number of bands dring their teens. Michael Stipe (b. │░
│ January 4, 1960) was a military brat, moving throughout │░
│ the country during his childhood. By his teens, he had │░
│ discovered punk rock through Patti Smith, Television, and │░
│ Wire, and began playing in cover bands in St. Louis. By │░
│ 1978, he had begun studying art at the University of │░
│ Georgia in Athens, where he began frequenting the Wuxtry │░
│ record store. Peter Buck (b. December 6, 1956), a native │░
│ of California, was a clerk at Wuxtry. Buck had been a │░
│ fanatical record collector, consuming everything from │░
│ classic rock to punk and free jazz, and was just beginning │░
│ to learn how to play guitar. Discovering they had similar │░
│ tastes, Buck and Stipe began working together, eventually │░
│ meeting Berry and Mills through a mutual friend. In April │░
│ of 1980, the band formed to play a party for their friend, │░
│ rehearsing a number of garage, psycedelic bubblegum and │░
│ punk covers in an converted Episcopalian church. At the │░
│ time, the group was played under the name the Twisted │░
│ Kites. By the summer, the band had settled on the name │░
│ R.E.M. after flipping randonmly through the dictionary, │░
│ and had met Jefferson Holt, who became their manager after │░
│ witnessing the group's first out-of-state concert in North │░
│ Carolina. │░
│ │░
│ Over the next year and a half, R.E.M. toured throughout │░
│ the South, playing a variety of garage rock covers and │░
│ folk-rock originals. At the time, the band was still │░
│ learning how to play, as Buck began to develop his │░
│ distinctive, arpeggiated jangle and Stipe ironed out his │░
│ cryptic lyrics. During the summer of 1981, R.E.M. recorded │░
│ its first single, "Radio Free Europe," at Mitch Easter's │░
│ Drive-In Studios. Released on the local indie label │░
│ Hib-Tone, "Radio Free Europe" was pressed in a run of only │░
│ 1,000 copies, but most of the those singles fell into the │░
│ right hands. Due to strong word-of-mouth, the single │░
│ became a hit on college radio and topped the Village │░
│ Voice's year-end poll of Best Independent Singles. The │░
│ single also earned the attention of larger independent │░
│ labels, and by the beginning of 1982, the band had signed │░
│ to I.R.S. Records, releasing the EP Chronic Town in the │░
│ spring. Like the single, Chronic Town was well-received, │░
│ paving the way for the group's full-length debut album, │░
│ 1983's Murmur. │░
│ │░
│ With its subdued, haunting atmosphere and understated │░
│ production, Murmur was noticeably different than Chronic │░
│ Town and it was welcomed with enthusiastic reviews upon │░
│ its spring release; Rolling Stone named it the best album │░
│ of 1983, beating out Michael Jackson's Thriller and the │░
│ Police's Synchronicity. Murmur also expanded the group's │░
│ cult significantly, breaking into the American Top 40. │░
│ R.E.M. returned to a rougher-edged sound on 1984's │░
│ Reckoning, which featured the college hit "So. Central │░
│ Rain (I'm Sorry)." By the time the band hit the road to │░
│ support Reckoning, they had become well-known in the │░
│ American underground for their constant touring, aversion │░
│ to videos, support of college radio, Stipe's mumbled │░
│ vocals and detatched stage presence, Buck's ringing │░
│ guitar, and their purposely enigmatic artwork. Bands that │░
│ imitated these very things ran rampant throughout the │░
│ American underground, and R.E.M. threw their support │░
│ towards these bands, having them open at shows and │░
│ mentioning them in interviews. By 1985, the American │░
│ underground was awash with R.E.M. soundalikes and bands │░
│ like Game Theory and the Rain Parade, which shared similar │░
│ aesthetics and sounds. │░
│ │░
│ Just as the signature R.E.M. sound dominated the │░
│ underground, the band entered darker territory with their │░
│ third album, 1985's Fables of the Reconstruction. Recorded │░
│ in London with producer Joe Boyd (Richard Thompson, │░
│ Fairport Convention, Nick Drake), Fables of the │░
│ Reconstruction was made at a difficult period in R.E.M.'s │░
│ history, as the band was frought with tension produced by │░
│ endless touring. The album reflected the group's dark │░
│ moods, as well as its obsession with the rural South, and │░
│ both of these fascinations popped up on the supporting │░
│ tour. Stipe, whose on-stage behavior was always slightly │░
│ strange, entered his most bizarre phase, as he put on │░
│ weight, dyed his hair bleached blonde and wore countless │░
│ layers of clothing. None of the new quirks in R.E.M.'s │░
│ persona prevented Fables of the Reconstruction from │░
│ becoming their most successful album to date, selling │░
│ nearly 300,000 copies in the US. R.E.M. decided to record │░
│ their next album with Don Gehman, who had previously │░
│ worked with John Mellencamp. Gehman had the band clean up │░
│ their sound and Stipe ennuciate his vocals, making Lifes │░
│ Rich Pageant their most accessible record to date. Upon │░
│ its late summer release in 1986, Lifes Rich Pageant was │░
│ greeted with the positive reviews that had become │░
│ customary with each new R.E.M. album, and it outstripped │░
│ the sales of its predecessor. Several months after Lifes │░
│ Rich Pageant, the group released the B-sides and rarities │░
│ collection, Dead Letter Office in the spring of 1987. │░
│ │░
│ R.E.M. had laid the groundwork for mainstream success, but │░
│ they had never explicity courted widespread success. │░
│ Nevertheless, their audience had grown quite large, and it │░
│ wasn't that surprising that the group's fifth album, │░
│ Document, became a hit shortly after its fall 1987 │░
│ release. Produced by Scott Litt ù who would produce all of │░
│ their records over the course of the next decade ù │░
│ Document climbed into the US Top Ten and went platinum on │░
│ the strength of the single "The One I Love," which also │░
│ went into the Top Ten; it also became their biggest UK hit │░
│ to date, reaching the British Top 40. The following year, │░
│ the band left I.R.S. Records, signing with Warner Bros. │░
│ for a reported six million dollars. The first album under │░
│ the new contract was Green, which was released on election │░
│ day 1988. Green continued the success of Document, going │░
│ double platinum and generating the Top Ten single "Stand." │░
│ R.E.M. supported Green with an exhaustive international │░
│ tour, in which they played their first stadium dates in │░
│ the US. Though they had graduated to stadiums in America, │░
│ the group continued to play clubs throughout Europe. │░
│ │░
│ The Green tour proved to be draining for the group, and │░
│ they took an extended rest upon its completion in 1989. │░
│ During the break, each member pursued side-projects, and │░
│ Hindu Love Gods, an album Buck, Berry and Mills recorded │░
│ with Warren Zevon in 1986, was released, R.E.M. reconvened │░
│ during 1990 to record their seventh album, Out of Time, │░
│ which was released in the spring of 1991. Entering the US │░
│ and UK charts at number one, Out of Time was a lush pop │░
│ and folk album, boasting a wider array of sounds than the │░
│ group's previous efforts; its lead single, "Losing My │░
│ Religion," became the group's biggest single, reaching │░
│ number four in the US. Since the band was exhausted from │░
│ the Green tour, they chose to stay off the road. │░
│ Nevertheless, Out of Time became their biggest album, │░
│ selling over four million copies in the US and spending │░
│ two weeks at the top of the charts. R.E.M. released the │░
│ dark, meditative Automatic for the People in the fall of │░
│ 1992. Though the group had promised a rock album after the │░
│ softer textures of Out of Time, Automatic for the People │░
│ was slow, quiet and reflective, with many songs being │░
│ graced by string arrangements by Led Zeppelin bassist John │░
│ Paul Jones. Like its predecessor, Automatic for the People │░
│ was a quadruple platinum success, generating the Top 40 │░
│ hit singles "Drive," "Man on the Moon" and "Everybody │░
│ Hurts." │░
│ │░
│ After piecing together two albums in the studio, R.E.M. │░
│ decided to return to being a rock band with 1994's │░
│ Monster. Though the record was conceived as a │░
│ back-to-basics album, the recording of Monster was │░
│ difficult and plagued with tension. Nevertheless, the │░
│ album was a huge hit upon its fall release, entering the │░
│ US and UK charts at number one; furthermore, the album won │░
│ praise from a number of old-school critics who had been │░
│ reluctant to praise the band, since they didn't "rock" in │░
│ conventional terms. Experiencing some of the strongest │░
│ sales and reviews of their career, R.E.M. began their │░
│ first tour since Green early in 1995. Two months into the │░
│ tour, Bill Berry suffered a brain aneurysm while │░
│ performing; he had surgery immediately and had fully │░
│ recovered within a month. R.E.M. resumed their tour two │░
│ months after Berry's aneurysm, but his illness was only │░
│ the beginning of a series of problems that plagued the │░
│ Monster tour. Mills had to undergo abdominal surgery to │░
│ remove an intestinal tumor in July; a month later, Stipe │░
│ had to have an emergency surgery to remove a hernia. │░
│ Despite all the problems, the tour was an enormous │░
│ financial success, and the group recorded the bulk of a │░
│ new album. Before the record was released in the fall of │░
│ 1996, R.E.M. parted ways with their long-time manager │░
│ Jefferson Holt, allegedly due to sexual harrassment │░
│ charges levied against Holt; the group's lawyer, Bertis │░
│ Downs, assumed managerial duties. │░
│ │░
│ New Adventures in Hi-Fi was released in September 1996, │░
│ just before it was announced that the band had re-signed │░
│ with Warner Bros., reportedly for a record-breaking sum of │░
│ eighty million dollars. In light of such a huge figure, │░
│ the commercial failure of New Adventures in Hi-Fi was │░
│ ironic. Though it received strong reviews and debuted at │░
│ number two in the US and number one in the UK, the album │░
│ failed to generate a hit single, and it only went platinum │░
│ where its three predecessors went quadruple platinum. By │░
│ early 1997, the album had already begun its descent down │░
│ the charts. However, the members of R.E.M. were already │░
│ pursuing new projects, as Stipe worked with his film │░
│ company, Single Cell Pictures, and Buck co-wrote songs │░
│ with Mark Eitzel and worked with a free-jazz group, │░
│ Tuatara. │░
│ │░
│ In October of 1997, R.E.M. shocked fans and the media with │░
│ the announcement that Berry was amicably exiting the group │░
│ to retire to life on his farm; the remaining members │░
│ continued on as a three-piece, soon convening in Hawaii to │░
│ begin preliminary work on their next LP. Replacing Berry │░
│ with a drum machine, the sessions resulted in 1998's Up, │░
│ widely touted as R.E.M.'s most experimental recording in │░
│ years.s │░
│ │░
└────────────────────────────────────────────────────────────────┘░
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