This is one of R.E.M.'s albums. which I was looking forward to having on vinyl. It arrived in perfect condition. The pressing is good, without warping, scratches or background noise. It is worth it!
Scritto da: Daniel
de 5 estrellas Discazo
Que ganas le tenia...
Scritto da: Juanma M.M.
de 5 estrellas magnífico
El producto ha llegado en perfecto estado. La calidad de sonido muy buena. El envío llegó en la fecha prevista. Merece la pena compralo. No es el mejor de los discos de REM, pero está genial.
Scritto da: Cavallin Serge
Prix livraison rapide
Un cd moyen de REM
Scritto da: Luisa
Bellissimo!
Adoro i Rem e trovo questo album stupendo anche se diverso dai precedenti essendo più rock elettronico. Contiene alcune canzoni che sono dei capolavori come "At my most beautiful", "Walk unafraid" o "Daysleeper". L'unica pecca è forse la registrazione del vinile che non è eccelsa, ma del resto non poteva mancare nella mia collezione.
Scritto da: A. Brand
TOP
Endphase von R.E:M. - nochmal eine richtig geile Scheibe raus gehauen. Der Hit Daysleeper (Amazon sperrt sicher wieder die Bewertung, da ich englische Songs hier angebe). Muss man einfach haben. ps. die Vinyl ist selbst gekauft und NULL von Amazon zur Verfügung gestellt wie bei anderen
Scritto da: Greg Coogan
Wonderful pressing of REM classic
The 180 GM vinyl is an excellent master, although be cautious the first copy I got had significant scuffs on one side. Maybe they like to play frisbee in the pressing plant, but that’s unacceptable in a new album. Returned for a better copy.
Scritto da: Mr. A. Rothnie
The best post-Bill Berry R.E.M. album and their last completely great one
Up's two predecessors - 1994's Monster and 1996's New Adventures in Hi-Fi - were both mainly composed of loud, quite heavy glam rock. Although they saw a gradual decline in sales for R.E.M. - though Monster did still shift an impressive 9 million units - they were both misunderstood and brilliant albums. The year after New Adventures in Hi-Fi's release saw Bill Berry retire from the band - as he was such a legendary drummer who even contributed significantly to the song writing it was a massive blow for R.E.M. However, he was present for the initial demo sessions of Up and the heavily electronic style with a greater use of drum machines than real drumming (1992’s Everybody Hurts was the first to include one anyhow) that it features would have happened anyway. Also, despite the disunity in the remaining three band members and strained, unhappy sessions like a lot of other top bands they still managed to produce another great album despite this disarray. Up is a real departure from its two preceding records - it is an elegant album of electronic ruminations - and the only previous track that hinted at its direction was 1996's classic synth-led How the West Was Won and Where It Got Us. It has a real autumnal/wintry mood and like Peter Gabriel's Up four years later - a title both artists were pleased to share - it is quite an ironic one as it is rather downbeat and a lot of the lyrics concern characters' trials and tribulations and trying to overcome them, much like the condition of R.E.M. as a band at the time. Half of the tracks are especially experimental. Opener Airportman was a shock to some R.E.M. fans back in 1998 as it was highly unlike any of their previous output and is very avant-garde - however, it was a pleasant surprise with its gorgeous keyboard melodies and ambience. Suspicion features a treated guitar riff from Peter Buck that sounds a bit like Nirvana's About A Girl but is another mainly electronic and excellent song. Hope is R.E.M.'s most bizarre song yet it is another high quality one - it is their equivalent of U2's Numb and features a repeating but thrilling synth loop that spirals sensationally into a crescendo by the end of the song. Why Not Smile is the least strong track, and the lyrics are fairly brief, but it is still another decent one and very melodious. However, the moving Diminished - about a defendant - is one of the all-time greatest R.E.M. songs with heavy electronica/loops and piano really displaying the band's stunning gift for melody. I'm Not Over You at the end of this twelfth track is like an afterthought but a fine acoustic ditty. The surreal and dreamy Parakeet follows and is another strong track with an electronic sheen and wonderful organ playing too. Falls to Climb finishes the album on a sensational electric and emotional climax while the acoustic guitar during the second verse teases the sound of the band's most popular album, 1992's Automatic For The People. This leads to another characteristic of Up which is that the other seven songs are highly effective because they combine the new electronic production - Pat McCarthy was a great producer on his first R.E.M. project - with facets of old R.E.M. The Apologist has the crisp acoustics of Automatic For the People combined with tinkly keyboards and the outro where the song breaks down to ringing electronics is stunning. You're In the Air and Walk Unafraid are other particularly special highlights that rank amongst the band's best ever tunes and in addition to their moody electronica they too hark back to part of the old R.E.M. sounds due to Peter Buck's jangling guitar in both. In the former sweeping strings and organ enhance the soundscape while the latter became a song that was kept in the band's live setlist for years after perhaps due to its dynamic, rousing chorus too. Sad Professor is absolutely vintage R.E.M. and melds an acoustic, 1992-like verse with a quite rocking electric guitar chorus that sounds more like it could have been on New Adventure in Hi-Fi - amongst all the forward thinking on Up it is nice to have some songs that incorporate the band's past too. The three singles were all the correct and most natural choices and likewise reflect former R.E.M. too. Lotus combines the seventies rocker style of 1996's The Wake-Up Bomb with scintillating synths and the music is made even more dramatic by soaring strings. The affectionate At My Most Beautiful just about made the top 10 in the UK as the third and final single and harks back to previous piano driven R.E.M. songs like Nightswimming and Electrolite but this time splicing it with glorious Beach Boys harmonies. However, it is the lead single about an early hours office worker - Daysleeper - that is most like Automatic For the People with its folky acoustic guitar riffing and the album's most commercial and conventional rock-pop moment. But yet again it skilfully combines the guitars with their newfound technological tricks as the keyboards that underpin the track are exquisitely ethereal and this is another one of the band's most magnificent ever tracks. Because the three singles - particularly Daysleeper - were the only somewhat more commercialised songs, Up inevitably only sold around 2 million copies which was unjust. While it was a cliche for an alternative rock group in the 90s/00s to experiment with electronica, this resulted in R.E.M.'s most innovative, bravest and arguably most gorgeous sounding record. The vinyl remastering of this 25th anniversary edition is really deep, clear and powerful too. Subsequent Pat McCarthy produced R.E.M. records were a bit monotonous and patchy - it was Up which really showed what tunesmiths Buck, Mills and Stipe were and it was also one of the band's most important releases as it was the first without Bill Berry. Although Out of Time and Automatic For The People will always be R.E.M.'s commercial heyday and imperial phase, their mid-to-late 90s albums still at least saw the band stay at their peak of powers critically speaking. Final record Collapse into Now in particular was genuinely very good, but Up is their finest post-Bill Berry album and last true masterpiece.
