Wikipedia

Up(R.E.M. album)

Upis the eleventh studio album by American rock bandR.E.M.It was released on October 26, 1998, throughWarner Bros. Records.The album was the band's first without drummer and founding memberBill Berry,who retired from the band in October 1997. In his place, R.E.M. used session drummers such asJoey WaronkerandBarrett Martinwhile also utilizingdrum machines.[9]The album was produced byPat McCarthy,making it R.E.M.'s first album sinceLifes Rich Pageant(1986) not to be produced byScott Litt.

Up
The album cover has a series of squares
Original cover art. The 25th anniversary release opts for a maroon and pink color scheme.
Studio albumby
R.E.M.
ReleasedOctober 26, 1998(1998-10-26)[1]
Studio
Genre
Length64:31
LabelWarner Bros.
Producer
R.E.M.chronology
R.E.M.: In the Attic – Alternative Recordings 1985–1989
(1997) 		Up
(1998) 		Man on the Moon
(1999)
SinglesfromUp
  1. "Daysleeper"
    Released: October 12, 1998[5]
  2. "Lotus"
    Released: December 7, 1998[6]
  3. "At My Most Beautiful"
    Released: March 8, 1999[7]
  4. "Suspicion"
    Released: June 28, 1999[8]

The songs onUpdisplay a much largerelectronic musicinfluence than previous R.E.M. material, with extensive use of keyboards and drum programming. Among the ideas Stipe set out to explore lyrically were what he described as the "religious-spiritual versus science-technology-modern-age", in addition to an "automatic, unconscious" style. The making of the album was tumultuous, with the band later admitting to coming close to breaking up during the process.

WhileUpwas commercially successful, reaching the top 3 in both the US and UK, its sales fell short of R.E.M.'s previous albums. Four singles were released from the album: "Daysleeper","Lotus","At My Most Beautiful"and"Suspicion".Both" Daysleeper "and" At My Most Beautiful "were top 10 hits in the UK, while the former reached the top of the USAdult Alternative Songschart. Critical reception has been positive, with many considering it to be a transitional record for the band and praising its integration of electronic elements. The band toured throughout 1999 in Europe and the US in promotion of the album. In 2023,Upwas reissued with bonus material for the 25th anniversary of its release.

Background

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Upwas R.E.M.'s first album without drummerBill Berry.

In 1995, R.E.M. embarked on a tour for their ninth studio albumMonster(1994), their first since theGreen(1988) tour.[10]While the tour was critically and commercially successful, the band was marred by health problems, including ananeurysmsuffered by Berry at a show inLausanne, Switzerland.[11]After receiving emergency surgery, Berry made a full recovery, although the band had to cancel the rest of their spring tour.[11]BassistMike Millsadditionally had to have an intestinal tumor removed in July of that year, whilst in August lead vocalistMichael Stipesuffered ahernia.[11]The next year, the band signed a deal withWarner Bros. Recordsworth an estimated $80 million, which had been regarded as the largest recording contract awarded up to that point.[12]In the spring, the band parted ways with longtime managerJefferson Holtdue to allegations of sexual harassment.[13]In September 1996, the band releasedNew Adventures in Hi-Fi,which had been partially recorded live and during soundchecks from theMonstertour.[14]The album was a critical and commercial success, reaching number two in the US and number one in the UK.[15][16]However, none of its singles managed to reach the top 40 in the US and sales were lower than the band's previous few releases.[15]

Recording

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R.E.M. began rehearsals for their next album in February 1997 at West Clayton Street in Athens.[17]The band produced around 20 backing tracks at this time, and after these sessions they considered working with Litt once again.[17]However, Litt was in the process of founding a record label at the time and was not as interested in producing records as before.[17]Later in March, the band continued work in Buck's home studio in Hawaii, intending to build songs around the backing tracks created in February.[17]While these sessions preceded Berry's departure, the band had already moved in a more electronic direction, with the tracks utilizing drum machines and being written with very little guitar; at this point the band had put "about 40 songs on tape."[17]However, due to various personal factors, Berry struggled to remain interested in working with the band, and when they reconvened to continue work onUpin October 1997, he announced his departure.[17]While the band had, in the past, declared they would disband following the departure of any members, Berry made it clear to the rest of R.E.M. that he would not leave if it would result in the dissolution of the band.[18][19]The band continued and decided against replacing Berry, instead utilizing session drummers and drum machines.[19]However, sessions booked atJohn Keane's studio in October and November were cancelled, as the band were unsure of their direction and "couldn't rehearse without a drummer."[18]

The band's first sessions without Berry began on February 2, 1998 at Toast Studios inSan Francisco.[20]In Litt's place was producerPat McCarthy,who had previously worked with R.E.M. as an engineer and had also worked with acts includingU2andCounting Crows.[20]"Airportman" was one of the first songs to be finished, being "written, recorded, sung, and mixed by us all in one day", according to Stipe.[21]Despite a fast start, progress was quickly halted by Stipe'swriter's block.[21]

Music and lyrics

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Considered both analternative rock[2]andelectronicrecord,[3]Upis largely defined by the use of drum machines and keyboards, to a greater extent than on any previous R.E.M. album. Stipe cited "the religious-spiritual versus science-technology-modern-age" as a theme he intended to explore with his lyrics.[22]He also sought an "automatic, unconscious" style inspired byPatti Smith.[22]According to Stipe,Bertis Downs,the band's lawyer, noted a theme of "people falling down and getting back up again".[22]

Many tracks onUphave been compared to the work ofBrian Wilson,particularlythe Beach Boys' albumPet Sounds(1966).

The album opens with "Airportman", which Mills states was specifically chosen as the first track as "a challenge to the audience".[19]He felt the song would effectively introduce "the new R.E.M.", while also stating that "if [the listener] can get on board with this song starting the record, then you can get on board with everything else."[19]Lyrically, the song takes the perspective of a travelling businessman.[23]Its music has been compared to the work ofBrian Eno,while Stipe's vocals have been likened toThom Yorke.[23]"Lotus" was written by Buck on keyboards, and is one of the few on the album to feature live drumming.[19]In reviewing the album's 25th anniversary reissue forPitchfork,Stephen Thomas Erlewinedeclared it to beUp's "hardest rocking cut".[2]"Suspicion" has been described by Ryan Leas ofStereogumas a "strange electronic meditation" and "a whisper of aBondtheme in some kind of space lounge ".[3]Despite not participating in the writing of the song, singer-songwriterLeonard Cohenwas given a writing credit for "Hope" due to its perceived similarities to Cohen's song "Suzanne".[19]Erlewine states the song "hums along to an understatedly urgent pulse", while Leas interprets its lyrics as "grappling with technology and faith".[2][3]

Thebaroque-esque "At My Most Beautiful" has received many comparisons tothe Beach Boys,particularly the band's 1966 albumPet Sounds.[23][3]Often considered the band's first truelove song,[23]it was deliberately arranged by Mills to be a tribute to the Beach Boys.[24]The writing of the song was spurred by Stipe coming up with the lyric "I found a way to make you smile" while sitting in traffic.[24]The song's drums are performed by Buck,[25]who has also cited the song as having his favorite of Mills' basslines.[24]Seth Troyer ofPopMatterscompares the guitar work on "The Apologist" to that of the band's 1994 albumMonster,while referring to its lyrics as a "character study" echoing the chorus of an earlier R.E.M. song, "So. Central Rain (I'm Sorry)"(1984).[26]Sal Cineuqmani ofSlantdescribes "Sad Professor" as a "character study of an aging, self-loathing alcoholic."[23]"Walk Unafraid" has been called a "deconstructed rocker", with the verses "suspended in midair" while also having "one of the only affirming choruses" on the album.[3]The song's lyrics were inspired by a conversation Stipe had withPatti Smithin which she encouraged him to be "fearless" in working on the album; Stipe made a point of making the lyrical themes broader, stating that "I wanted [" Walk Unafraid "] to be more universal than just me having to embark on the writing of an album. That's a little too specific and not that interesting, so I wrote this song."[27]Much like "At My Most Beautiful", Leas compares "Why Not Smile" toPet Sounds–era Beach Boys, while Troyer states the track "begins as a simple acoustic song and explodes into a borderlineshoegaze,noise guitar jam. "[3][26]

The lyrics of "Daysleeper" are generally more direct in comparison to other tracks on the album, sung from the perspective of a nightshift worker whose lifestyle causes them to feel isolated and depressed.[28]Stipe was inspired to write the song after seeing a "daysleeper" sign in aNew Yorkapartment building.[28]Troyer considers "Daysleeper" to be one of the most conventional songs on the album, saying it "chime[s] forth with a catchy pop-rock style that [feels] more like classic R.E.M."[26]Tim Peacock ofuDiscover Musiccites "Diminished" and "Parakeet" as examples of the album's use of experimental instrumentation, with the former including "embellishments of vibes andtabla"and the latter utilizing"Pet Sounds-era organs. "[29]Additionally, "Diminished" includes a short hidden track entitled "I'm Not Over You".[30]"Falls to Climb", the album's closing track, features a vocal performance by Stipe which has earned comparisons toRadiohead's "How to Disappear Completely",released on their albumKid Atwo years after the release ofUp.[26]Troyer describes the song as "a beautiful epilogue" which is "full of tragic acceptance".[26]

Release and commercial performance

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Breaking with a tradition that stretched back to the band's 1983 debut,Murmur,Stipe elected to have his complete lyrics included inUp's CD booklet, a practice he would maintain on all subsequent R.E.M. studio albums. "[Mike Mills] was reading the lyrics," he explained, "and he said, 'These are really great – we should print them on the record sleeve.' It was a really good night and there were eight or nine songs on the wall. I said, 'Yeah, we will'… I thought it was a nice way of saying that we are a different band now."[22]

I try not to expect anything from sales, because if you judge the quality of a record from sales, then you're bound to lose your way as an artist... You can't make people like it or buy it. We're very happy with this record. I think we did a really good job. If it turns out to not be phenomenally successfully [sic], that's not a problem.[31]

–Mike Mills

Warner Bros. chose "Daysleeper" as the album's first single, which was released on October 12, 1998. The band was unhappy with the decision to release the song as the album's lead single, as they felt it was not necessarily indicative of the rest of the album.[27]It peaked at number 57 on theBillboardHot 100,making it their lowest-charting lead single since "Fall on Me"in 1986.[15]However, it was more successful on theAdult Alternative Songschart, where it stayed at the top for two weeks.[15]The song was more successful in the UK, where it reached number six.[16]"Lotus", the album's second single, was less successful, peaking at number 4 on the US Adult Alternative Songs chart and number 26 on theUK Singles Chart.[15][16]The album's third single, "At My Most Beautiful" was more successful, becoming its second top 10 hit in the UK, where it peaked at number ten.[16]"Suspicion" was released as the album's fourth and final single and failed to chart in either territory.[15][16]

R.E.M. touring forUpin 1999

The album itself was released on October 26, 1998.[32]Despite debuting at number three on the USBillboard200and selling 117,000 copies in its first week of release, its sales dropped in the following weeks.[31]The album would be certified Gold by theRIAAon January 22, 1999, becoming their first studio album sinceLifes Rich Pageantto not receive a Platinum certification.[33]However,Upsaw more success in Europe, with it topping the charts in Italy, Germany, Austria, and Norway and placing at number two in the UK, Ireland, and Sweden.[31]Sales were high in Italy in particular, exceeding 90,000 copies in its first week of release.[31]The band members were not disappointed in the album's sales in the US; as Buck stated: "I'm not unsatisfied [about the American sales figures]... I'd like to sell more. But there's not much I can really do about it. I think we made a great record. We're doing television and press [to promote it]."[31]

A 25th-anniversary edition was released on November 10, 2023.[34]This reissue included a second disc with the band's February 1999 live performance for the sitcomParty of Fivealongside a DVD with music videos and other material.[2]

Critical reception

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Professional ratings
Review scores
SourceRating
AllMusic[1]
Blender[35]
Entertainment WeeklyA−[36]
The Guardian[37]
Los Angeles Times[38]
NME7/10[39]
Pitchfork6.1/10(1998)[40]
6.9/10(2023)[2]
Q[41]
Rolling Stone[42]
Spin8/10[43]

Upon release,Upreceived generally positive reviews from critics. Writing for theLos Angeles Times,Mike Boehmfound the album to be an improvement fromNew Adventures in Hi-Fi,praising its "resourceful and cohesive soundscape" and its "passionate take on end-of-the-century malaise".[38]Boehm noted a lyrical theme of "sort[ing] through confusion and reach[ing] uncertainly for clarity", while he described its music as "muted pop-baroque."[38]Boehm highlighted Stipe's vocals on "At My Most Beautiful" and the album's "two rockers" ( "Lotus" and "Walk Unafraid" ), while likening "Hope" to "Kraftwerkcovering Leonard Cohen's 'Suzanne' ".[38]Entertainment Weekly'sDavid BrownedeemedUpR.E.M.'s most cohesive album sinceAutomatic for the People(1992) and said that their shift toward "mid-tempo, or often no-tempo, hymns and ballads" suited them, accentuating the vulnerability "at the heart" of the band's work.[36]In a four-star review forQ,Danny Eccleston felt the album would be challenging for casual listeners, but more accessible for fans of the band: "It will certainly sound strange to those who only ownAutomatic for the Peopleand repeat-play the hits. Conversely, anyone who has a healthy number of R.E.M. records – let's say four – and plays them regularly, should manage to listen toUpwithout his head exploding or tossing herself off a tall building or any of the weird things people are meant to do when faced with music they don't quite understand. "[41]He went on to state that while there was a "fear that R.E.M. playing keyboards would sound like old dogs trying embarrassing new tricks", they instead "sound comfortable with the instrumentation and are pushing the capabilities of it from the off."[41]

Writing forRolling Stone,Ann Powerscompared the album to Radiohead'sOK Computer(1997), highlighting a shared theme of "alienation" and stating that "Buck and Mills cultivate the same multitiered spaciousness [onUp] that makesOK Computerso rich. "[42]Powers went on to describeUpas "a look back and a dream forward from the greatest rock-ballad band that ever existed, a group whose fast songs even made you think slow, the one that made introspection not just a sideline but the whole game."[42]Sally Jacob ofSpinfelt that the album's electronic style helped keep R.E.M.'s sound fresh and compared it to the band's debutMurmur(1983).[43]Jacob went on to praiseUpas "lushly arranged" and "float[ing] away from R.E.M.'s past moorings in weighty, enigmatic symbolism."[43]Conversely,Pitchfork's original review of the album was more mixed, feeling that the band's change in sound was "contrived and forced."[40]While reviewer Duane Ambroz highlighted "Airportman", "Why Not Smile", and "Daysleeper" as instances where the album was successful, he considered "At My Most Beautiful" to be "laughable" and found the album as a whole to be "dull and tired".[40]InThe Guardian,Adam Sweetingcredited R.E.M. for diversifying their sound onUpbut found their musical experimentation only intermittently successful, summarizing the album as sounding like "it's suffering an identity crisis."[37]

Retrospective reviews of the album have also been positive, with many considering it to be underrated. Writing forAllMusic,Stephen Thomas Erlewinecalled the album "accomplished and varied", while also noting that the record proved how R.E.M. could integrate a wide array of genres into their sound while maintaining their identity.[1]However, he also felt that "for the first time, R.E.M. sound like they're playing catch-up, trying to keep their hip status intact."[1]Rating the album as part of a 2005 group of reissues, Karen Schoemer ofBlenderawardedUpfour stars out of five, calling it the band's "most intimate [album] in years."[35]Louis Pattison ofUncutnoted the group's embracement ofelectronicaand the aesthetics ofhypermodernity,with a dislocated, 'fin de siècle' feel comparable to Radiohead'sOK ComputerandKid A(2000), withThom Yorkeof that band citingUpas a touchstone for the latter album. Pattison added thatUp's use of electronics was prescient, as "post-Kid A,groups likeThe Postal ServiceandOwl Citywould work so-called 'emotronica' into a commercial force. But in 1998, the audience were not ready, and R.E.M. themselves proved either unwilling or unable. "[44]

The album's 25th anniversary reissue sparked renewed attention in the album and further positive reviews.[45]

Although R.E.M. initially intended not to tour for the album, after many successful promotional concerts upon the album's release, the band quickly arranged a four-month arena tour of Europe and America during the summer of 1999. As of March 2007,Uphas sold 664,000 units in theU.S.[46]

Accolades

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In 1999,Nude as the Newsranked the album at number 74 in its list of "The 100 Most Compelling Albums of the Decade".[47]That same year, Australian magazineJuiceranked it at number 38 in its list of the "100 Greatest Albums of the '90s".[48]In 2005, journalistJude Rogersincluded the album inThe Word's list "Hidden Treasure: Great Underrated Albums of Our Time", whose inductions were chosen by celebrities.[49]It also appeared in at least 22 magazine lists of the greatest albums of 1998.[citation needed]

Track listing

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All songs byPeter Buck,Mike MillsandMichael Stipe,except where noted.

Original release

Upside

  1. "Airportman" – 4:12
  2. "Lotus"– 4:30
  3. "Suspicion"– 5:36
  4. "Hope" (Buck, Mills, Stipe,Leonard Cohen)[note 1]– 5:02
  5. "At My Most Beautiful"– 3:35
  6. "The Apologist" – 4:30
  7. "Sad Professor" – 4:01
  8. "You're in the Air" – 5:22

Downside

  2. "Walk Unafraid" – 4:31
  3. "Why Not Smile" – 4:03
  4. "Daysleeper"– 3:40
  5. "Diminished" – 6:01
    • "I'm Not Over You" (hidden track)[note 2]
  6. "Parakeet" – 4:09
  7. "Falls to Climb" – 5:06

Notes

  1. ^Leonard Cohen was not directly involved in the writing of "Hope" but was given a writing credit by the band due to similarities in melody andlyrical patternto his song "Suzanne".
  2. ^On digital releases, the track is listed as "Diminished / I'm Not Over You - Medley".
  • Similarly toNew Adventures in Hi-Fi,the vinyl release ofUpis split over two records and so does not have custom side titles. The sides listed here refer to the cassette release.

B-sides

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B-sides toUpsingles
Title Single
"Emphysema" "Daysleeper"
"Sad Professor" (live in the studio)
"Why Not Smile" (Oxford Americanversion)
"Surfing the Ganges" "Lotus"
"Suspicion" (live in the studio)
"Lotus" (weird mix)
"The Passenger"(live onLater… with Jools Holland) "At My Most Beautiful"
"Country Feedback" (live onLater… with Jools Holland)
So. Central Rain (I'm Sorry)(live onLater… with Jools Holland)
"Electrolite"(live onLater… with Jools Holland) "Suspicion"
"Man on the Moon" (live onLater… with Jools Holland)
"Perfect Circle"(live onLater… with Jools Holland)

Personnel

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R.E.M.

Additional musicians

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  • Eddie Horst – string arrangements on "Suspicion" and "You're in the Air"
  • Bruce Kaphan– pedal steel
  • John Keane
  • Barrett Martin– drums, percussion
  • Scott McCaughey– keyboards, percussion
  • John Sharpley – string arrangements on "Lotus"
  • Joey Waronker– drums, percussion
  • Paul Murphy – viola, leader
  • Jere Flint – conductor
  • Jun-Chin Ling, David Arenz, David Braitberg, Willard Shull, Sou-Chun Su, Ellie Arenz, Jay Christy, Anne Page, Helen Porter – violin
  • Reid Harris, Heidi Nitchie, Patti Gouvas – viola
  • Daniel Laufer, Elizabeth Murphy, Christopher Rex, Nan Maddox – cello
  • Douglas Sommer – double bass

Technical personnel

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Charts

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Certifications and sales

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Certifications and sales forUp
Region Certification Certified units/sales
Australia (ARIA)[72] Gold 35,000^
Austria (IFPIAustria)[73] Gold 25,000*
Belgium (BEA)[74] Gold 25,000*
France (SNEP)[75] Gold 100,000*
Italy — 150,000[76]
New Zealand (RMNZ)[77] Gold 7,500^
Norway (IFPINorway)[78] Platinum 50,000*
Spain (PROMUSICAE)[79] Gold 50,000^
Sweden (GLF)[80] Gold 40,000^
Switzerland (IFPISwitzerland)[81] Gold 25,000^
United Kingdom (BPI)[82] Platinum 300,000^
United States (RIAA)[83] Gold 664,000[46]
Summaries
Europe (IFPI)[84] Platinum 1,000,000*
Worldwide
Oct. - Dec. 1998 sales 		— 1,500,000[76]

*Sales figures based on certification alone.
^Shipments figures based on certification alone.

Sources

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  • Black, Johnny (2004).Reveal: The Story of R.E.M.Backbeat.ISBN0-87930-776-5.

References

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