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Rating: One never gets tired of talking about “Automatic For The People.”
A fundamental album, perhaps (indeed, certainly) the creative pinnacle in the remarkable career of R.E.M. A dark and brooding album, yet lyrically often violent, which in the creators' initial intentions was supposed to be a hard alt-rock record after the almost pop intoxication of “Out Of Time” (intentions quickly abandoned) and the unexpected explosion of “Losing My Religion,” destined to become the quintessential classic of the Athens band.
On the occasion of the twenty-fifth anniversary of this amazing album, a rich and exhaustive reissue arrives in stores, structured in three discs: the original album remastered in Dolby Atmos (the first-ever release to use this format), a second disc with the only live performance of R.E.M. in the year the album was released (at the “40 Watt Club, for a fundraising event) and a third disc containing demos (some of which are of unreleased tracks) and very intriguing alternative versions.
But let's proceed in order; there really isn't much left to say about the original album, an absolute masterpiece. Opened by an absolutely dark, disturbing and anti-radio single like “Drive,” one of the best tracks by the American band, “Automatic For The People” is the musical denial of the mass success achieved by the previous “Out Of Time.” And, as often happens, irony would later praise it as R.E.M.'s absolute bestseller, despite initially the album having paid the price for choosing “Drive” as the launch single (it did not reach the top of the US charts, stopping at second place). The truly rock tracks, or in any case more R.E.M.-like, are ultimately only three (the sparkling “The Sidewinder Sleeps Tonite,” the milestone “Man On The Moon,” and the politicized rock ‘n roll of “Ignoreland”), the rest are characterized by dark and essential arrangements, often supported by John Paul Jones of Zeppelin on strings. It's impossible not to mention the super classic “Everybody Hurts,” a melancholic ballad about youth suicide and the album's only true hit, in addition to the dreamy “Try Not To Breathe,” “Find The River,” and another classic, “Nightswimming,” all marked by minimalism and the delicacy of the arrangements.
As for the live album, the main points of interest are a rock and direct version of “Drive” and the only live performance of “Monty’s Got A Raw Deal.” Among the unreleased demos, the only new complete versions are the closing “Devils Ride Backwards,” which interestingly anticipates the sounds of the controversial “Up,” and the dreamy “Mike’s Pop Song,” with Mills on vocals. For the rest, we are faced with curious sketches and alternative versions, useful for understanding the process necessary to arrive at this jewel of an album.
Timeless.
Best track: Man On The Moon
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