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Album by R.E.Thou.

1984 studio album past R.E.Grand.

Reckoning
A watercolor painting of a snake with two heads that has the names of the songs from Reckoning written on it, with a large white square in the upper-left corner that has "R.E.M." written in it
Studio anthology by

R.E.M.
Released Apr ix, 1984 (1984-04-09)
Recorded December 8, 1983 – Jan sixteen, 1984
Studio Reflection Sound, Charlotte, North Carolina
Genre
  • Jangle pop[1]
  • culling rock[ii]
  • post-punk[3]
Length 38:55
Label I.R.South.
Producer
  • Don Dixon
  • Mitch Easter
R.E.M. chronology
Murmur
(1983) 		Reckoning
(1984) 		Fables of the Reconstruction
(1985)
Singles from Reckoning
  1. "Then. Central Rain (I'one thousand Pitiful)"
    Released: May 15, 1984
  2. "(Don't Go Back To) Rockville"
    Released: October 16, 1984

Reckoning (alternatively titled File Under Water )[4] is the second studio anthology by American alternative rock band R.E.M., released on Apr ix, 1984 by I.R.Southward. Records. Produced by Mitch Easter and Don Dixon, the album was recorded at Reflection Sound Studio in Charlotte, North Carolina, over sixteen days in December 1983 and January 1984. Dixon and Easter intended to capture the sound of R.Eastward.Thousand.'due south live performances, and used binaural recording on several tracks. Lead vocaliser Michael Stipe dealt with darker subject field matter in his lyrics, with h2o-related imagery being a recurring theme on the album.

Released to disquisitional acclaim, Reckoning reached number 27 in the United States—where information technology was certified gold past the Recording Industry Clan of America in 1991—and peaked at number 91 in the Great britain.

Background and production [edit]

After their debut album Murmur (1983) received critical acclaim, R.E.M. rapidly began working on their 2nd anthology. They wrote new cloth prodigiously; atomic number 82 guitarist Peter Cadet recalled, "Nosotros were going through this streak where we were writing two good songs a week [...] Nosotros but wanted to do it; whenever we had a new batch of songs, it was time to record".[v] Considering of the many new songs the band had, Buck unsuccessfully tried disarming anybody to brand the next album a double anthology.[6] In November 1983, the band recorded 22 songs during a session with Neil Immature producer Elliot Mazer in San Francisco.[7] While Mazer was briefly considered as a candidate to produce the band's adjacent album, R.E.1000. ultimately decided to team up again with Murmur producers Mitch Easter and Don Dixon instead.[5]

R.Due east.M. started recording Reckoning at Reflection Audio in Charlotte, North Carolina on December 8, 1983.[viii] The group recorded over two eight-day stretches around Christmas that year, separated by two weeks of canceled studio time that immune the band to perform in Greensboro, North Carolina, go see a movie, and shoot a video in the studio.[9] [x] While the studio diary listed 16 days for recording, the album sleeve later claimed the album was recorded in 14 days, while in interviews, Buck sometimes stated that the album was recorded in eleven days. The producers both disputed that the sessions were that brusque; Dixon insisted that they were at the studio for over 25 days — during which he worked xviii-hour days), while Easter said "When I read '11 days' I idea, what the fuck! It was twenty days, which was still short, but it's not 11."[xi]

During recording, at that place was pressure from I.R.S. Records to attempt making the anthology more than commercial. The label sent messages to Dixon and Easter, which the producers told the band that they would ignore. While the producers respected I.R.Due south. president Jay Boberg, they expressed dismay at the comments he fabricated when he visited during the final mean solar day of sessions. Dixon called Boberg "tape company clueless", while Easter said "I got along with Jay Boberg OK [...] merely now and once again he would express an opinion that would make me remember, 'holy shit', because it would strike me as really teenage." Buck said he was grateful that Dixon and Easter acted as a buffer betwixt the band and its label. He said that "information technology got to the point where as much as I respected the guys at I.R.South., we basically tried to tape the records so they wouldn't know we were recording them!", and explained that part of the reason why R.East.Chiliad. recorded the anthology and so chop-chop was that the grouping wanted to finish earlier representatives from I.R.S. showed up to listen to it.[12]

The recording sessions were difficult for lead vocalizer Michael Stipe, who, amongst the band, was particularly worn out by the ring's 1983 tour schedule. Getting usable vocal tracks from Stipe was difficult; Dixon recalled that he and Stipe would evidence upwardly around noon each day earlier the rest of the band, only that "he was kind of close downwardly, and it was difficult to get him to open up". While recording the song "7 Chinese Bros.", Stipe sang so quietly that Dixon could non hear him on the tape. Frustrated, the producer climbed a ladder to a spot above the recording booth Stipe was in and found a gospel record titled The Joy of Knowing Jesus past the Revelaires, which he then handed to the singer in an attempt to inspire him. Stipe began reciting the liner notes from the album audibly, which enabled Dixon to motility on to recording the vocal track to "7 Chinese Brothers" properly[13] (the initial recitation accept was later released in 1987 every bit "Voice of Harold" on the compilation Dead Letter of the alphabet Office).[14]

Music [edit]

With Reckoning, Dixon, Easter, and the band wanted to capture the energy of R.E.M.'south live sound.[15] Dixon had not seen the ring perform live before working on Murmur; after he had done and then, he had a greater sense of the band's strengths and weaknesses. Dixon wanted the guitars to sound more than similar they did in concert, but originally they met resistance from both the band and the label; however, past the fourth dimension R.East.M. started recording, Dixon said the group "wanted to rock out a bit more".[16]

Dixon was enamored of the binaural recording technique, and used information technology extensively on the album. Easter recalled that Dixon "made this sort of faux binaural caput out of a cardboard box and stuck two microphones in information technology" to tape the group. In Easter's opinion the method fabricated drummer Neb Berry's parts "fresher sounding". Binaural recording likewise immune bassist Mike Mills' backing vocals to exist loud without obscuring Stipe's lead vocals. Dixon explained, "Mike Mills was ofttimes singing 12 to 15 anxiety away from the microphones that were recording his part, merely considering it was in a studio binaural field, nosotros would tend to hear him as behind [Stipe]."[17]

Biographer David Buckley wrote, "While the music moved abroad from Murmur's slightly airless feel, the subject field matter was a little darker."[18] Buck noted in a 1988 interview that water imagery was abundant in the album.[19] Buckley interpreted that imagery every bit representing the alter presented by the band's increasing success, as well as the changing music scene of the grouping'southward Athens, Georgia hometown.[18] The song "Camera" addressed the death of a friend from Athens who died in a motorcar crash.[xx] Easter said, "[Stipe'south] vocal was so exposed on that track, and because of that, it could really evidence any technical imperfections with regard to pitch." The producer tried to get Stipe to sing a better have, but the singer was more intent on getting the feeling of the song beyond, and at one point refused to record further.[21] While many of the album's songs were new compositions, some had been in R.E.M.'s show setlists for years; in item, the songs "Pretty Persuasion" and "(Don't Go Dorsum to) Rockville" had been played live as far back as October 1980. The band was reluctant to record "Pretty Persuasion," as the members considered it likewise erstwhile, but Dixon and Easter convinced the group to exercise and so.[22] R.E.M. initially planned releasing "(Don't Become Dorsum to) Rockville" equally a not-anthology single betwixt Reckoning and its next release.[6] When the band recorded it for the album, the group rearranged the song from its live incarnation and gave it a land music-similar influence equally tribute to their advisor Bertis Downs, Iv, who was a fan of state music.[23]

Packaging [edit]

For the embrace of Reckoning, Stipe drew a picture of a 2-headed serpent, which he then gave to artist Howard Finster to fill in every bit a painting. Stipe stated that the imagery was an attempt to define the elements, explaining, "Part of it is rocks and role of information technology is the sun and part of it the sky." The end issue was considered a disappointment, every bit Stipe had to piece of work with Finster on a long-distance ground, and the reproduction of the artwork for the anthology sleeve was problematic.[24] The spine of the vinyl version of the album features the phrase "File Under Water". Stipe told NME in 1984 the phrase is the true title of the record. He added "In America, both titles are on the spine, with cypher on the cover. Here [in the United Kingdom] they insisted on Reckoning being on the cover."[iv] Instead of labeling the sides of the record as "side ane" and "side ii", the sides were designated as "L" and "R", respectively.[25]

The back cover features private photographs of the band members, including a photograph of Stipe taken by Michael Plen at the club Les Bains-Douches in Paris, France, on Nov 24, 1983.[26]

Release and reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [1]
Chicago Tribune [27]
Christgau's Record Guide B+[28]
Entertainment Weekly A−[29]
The Guardian [thirty]
Pitchfork ten/x[31]
Q [32]
Rolling Rock [33]
The Rolling Stone Album Guide [34]
Uncut [35]

Reckoning was released on April 9, 1984 in the United kingdom of great britain and northern ireland and on April 17 in the United States.[36] The album quickly reached number one on the college radio airplay charts, whose audience had highly predictable the anthology; however, the band hadn't received much exposure on commercial radio and MTV by that betoken. Instead of the music industry standard of waiting for mainstream radio stations to option up the band'southward music, I.R.South. hoped to "convince reluctant programmers to add the group by pointing to the press response, give-and-take-of-mouth reaction to local live performances and sales figures", according to a July 1984 Los Angeles Times article.[37] The album's first single, "So. Central Rain (I'm Sorry)", was released in May and reached number 85 on the Billboard Hot 100 charts.[38] Its second single, "(Don't Go Back to) Rockville", was released in Baronial; unlike its predecessor, it did not chart.[39] Within a month of its release, Reckoning peaked at number 27 on the Billboard 200 albums chart, and information technology remained there for nearly a year.[40] While the album's domestic nautical chart placing was unusually high for a higher rock band at the fourth dimension, scant airplay and poor distribution overseas immune information technology to nautical chart no college than number 91 in the United Kingdom.[41] In 1991 the record was certified gold (500,000 copies shipped) past the Recording Industry Association of America.[42]

Rolling Rock gave Reckoning a 4-out-of-five star rating. Reviewer Christopher Connelly wrote that in comparison to Murmur the "overall sound is crisper, the lyrics far more comprehensible. And while the anthology may not mark any major strides forward for the band, R.E.M.'s considerable strengths – Buck'southward ceaselessly inventive strumming, Mike Mills' exceptional bass playing and Stipe's evocatively gloomy baritone – remain unchanged". However, Connelly felt that Stipe's "erratic meanderings" were an impediment to the band that "will preclude R.Eastward.M. from transcending cult status". Nevertheless, he ended, "R.E.M.'s music is able to involve the listener on both an emotional and intellectual level."[33] Joe Sasfy of The Washington Post felt that the songs on the album "trump even Murmur 's outstanding songwriting" and stated "in that location isn't an American band worth post-obit more R.East.K."[43] NME reviewer Mat Snow wrote that Reckoning "confirms R.E.M. as one of the most beautifully exciting groups on the planet" and called the album "another classic".[44] The album placed seventh in NME 'southward Best Anthology of the Twelvemonth critics' poll,[45] and ranked 6th in The Village Vocalization 'due south Pazz & Jop poll.[46] Slant Magazine listed the album at number 81 on its list of "Best Albums of the 1980s".[47]

The 1992 British CD reissue of the album included five bonus tracks.[48] A 25th anniversary deluxe edition of the album, which was remastered and packaged with a bonus disc featuring a concert recorded at Chicago's Aragon Ballroom on July vii, 1984, was released in 2009.[49]

Left of Reckoning [edit]

Eager to explore the music video medium, Stipe secured funding for a short film that would back-trail music from the first half of Reckoning. Stipe'southward concept was to film the projection at folk artist R.A. Miller's Whirligig Farm, and he recruited Athens filmmaker James Herbert to direct it.[fifty] In March 1984 R.Due east.M. filmed Left of Reckoning at the Whirligig Farm in Rabbittown, Georgia.[36] The short moving-picture show draws its title from the fact that information technology is soundtracked by five songs that appear on the "L" side of the vinyl version of Reckoning: "Harborcoat", "7 Chinese Bros.", "So. Key Rain (I'm Sorry)", "Pretty Persuasion", "Time After Time (AnnElise)", in addition to "Second Guessing" from the R side.[51] In contrast to standard music video imagery, the film consists primarily of footage of the ring members wandering around the farm, while Herbert utilizes shut-ups, silhouettes, and tiresome motion footage.[36] Herbert utilized rephotography during the editing process, which involved taking photographs of film frames at random, while also closing in or pulling back from the image with no regard to narrative.[24] Co-ordinate to Cadet, "It was really cheap to make and kind of fun. We just asked [Herbert] to edit something to four minutes' length, but he'southward used to making 20-infinitesimal films, that's the length he works in. He only fabricated this picture show that goes along with the first side of the record." While MTV did non air the complete film, the channel's plan The Cutting Edge (funded by I.R.Due south.) aired the "Time After Fourth dimension (AnnElise)" segment, and the snippet featuring "Pretty Persuasion" was aired by other music programs.[52] The total picture show was later included on the video releases Succumbs and When the Lite Is Mine: The All-time of the I.R.S. Years 1982–1987.

Rails listing [edit]

All songs written by Bill Berry, Peter Cadet, Mike Mills, and Michael Stipe except where noted.

Side ane – "(Fifty) The Left Side"

  1. "Harborcoat" – 3:54
  2. "vii Chinese Bros." – four:18
  3. "So. Primal Rain (I'chiliad Sorry)" – 3:15
  4. "Pretty Persuasion" – 3:50
  5. "Time Subsequently Fourth dimension (Annelise)" – iii:31

Side two – "(R) The Right Side"

  2. "Second Guessing" – ii:51
  3. "Letter Never Sent" – ii:59
  4. "Camera" – 5:52
  5. "(Don't Go Back To) Rockville" – 4:55
  6. "Petty America" – two:58

1992 I.R.Due south. Vintage Years reissue bonus tracks:

  2. "Wind Out" (with friends) (Jerry Ayers, Berry, Buck, Mills, Stipe) – 1:58
  3. "Pretty Persuasion" (live in studio) – iv:01
  4. "White Tornado" (alive in studio) – 1:51
  5. "Tighten Up" (Archie Bell and Billy Butler) – 4:08
  6. "Moon River" (Henry Mancini and Johnny Mercer) – 2:21

2009 Palatial Edition bonus disc (Alive at the Aragon Ballroom, Chicago, Illinois, July vii, 1984)

  1. "Femme Fatale" (Lou Reed) – three:xix
  2. "Radio Costless Europe" – three:54
  3. "Gardening at Night" – 3:38
  4. "9–9" – 2:48
  5. "Windout" – 2:13
  6. "Letter of the alphabet Never Sent" – 3:03
  7. "Sitting Still" – 3:thirteen
  8. "Driver eight" – 3:28
  9. "And so. Cardinal Rain" – 3:23
  10. "seven Chinese Bros." – 4:27
  11. "Harborcoat" – four:34
  12. "Hyena" – 3:26
  13. "Pretty Persuasion" – 3:49
  14. "Little America" – iii:23
  15. "Second Guessing" – 3:07
  16. "(Don't Become Dorsum To) Rockville" – iv:xxx

A vintage radio promo for the album is hidden in the pregap of the bonus disc.

The original pressing of Reckoning included a clip of an untitled song at the end of the anthology, making "Piffling America" 3:43. This was restored on the Mobile Fidelity Audio Labs re-release of the album and on the Deluxe Edition.

Personnel [edit]

R.Due east.M.

  • Bill Berry – drums, percussion, and backing vocals
  • Peter Buck – guitar
  • Mike Mills – bass guitar, piano and backing vocals
  • Michael Stipe – lead vocals and harmonica

Additional musicians

  • Bertis Downs – backing vocals on "Wind Out" (With Friends)
  • Jefferson Holt – lead vocals on "Wind Out" (With Friends)

Product

  • Don Dixon – co-producer
  • Mitch Easter – co-producer
  • Howard Finster – fine art direction

Charts [edit]

Year Nautical chart Position
1984 US Billboard 200[39] 27
Britain Album Nautical chart[39] 91

Certifications [edit]

Release history [edit]

Region Date Label Format Catalog
United States April 9, 1984 I.R.S. vinyl LP SP 70044[55]
Compact disc CD 70044
cassette record CS 70044[56]
United states August 12, 1996 Mobile Allegiance Sound Lab CD UDCD 677[57]
LP MFSL ane-261[58]
United states of america June 23, 2009 I.R.S./Universal Music Group CD 602527076225††

††Remastered Deluxe Edition, with Live at Aragon Ballroom bonus disc

References [edit]

  • Black, Johnny. Reveal: The Story of R.E.One thousand. Backbeat, 2004. ISBN 0-87930-776-5
  • Buckley, David. R.East.M.: Fiction: An Alternative Biography. Virgin, 2002. ISBN i-85227-927-three
  • Fletcher, Tony. Remarks Remade: The Story of R.E.M. Motorcoach, 2002. ISBN 0-7119-9113-viii.
  • Grey, Marcus. Information technology Crawled from the Southward: An R.E.M. Companion. Da Capo, 1997. 2d edition. ISBN 0-306-80751-3
  • Platt, John (editor). The R.E.M. Companion: 2 Decades of Commentary. Schirmer, 1998. ISBN 0-02-864935-4

Notes [edit]

  1. ^ a b Erlewine, Stephen Thomas. "Reckoning – R.E.M." AllMusic. Retrieved Baronial xxx, 2015.
  2. ^ "The Top 100 Albums of the 1980s". Pitchfork. Retrieved 2022-03-04 .
  3. ^ Kuntz, Mike (2009-09-fifteen). "Music Vault: R.E.M. — 'Reckoning' (1984)". Michigandaily.com. Retrieved 2022-03-04 .
  4. ^ a b Hoskyns, Barney. "Four Guys Working For The Sainthood". NME. April 21, 1984.
  5. ^ a b Fletcher, p. 100
  6. ^ a b The Notorious Stuart Brothers. "A Date With Peter Buck". Bucketfull of Brains. December 1987.
  7. ^ Fletcher, p. 99
  8. ^ Black, p. 90
  9. ^ Black, p. 91
  10. ^ Fletcher, p. 100–01
  11. ^ Fletcher, p. 101
  12. ^ Buckley, p. 99
  13. ^ Buckley, p. 99–100
  14. ^ Black, p. 92
  15. ^ Buckley, p. 100
  16. ^ Buckley, p. 101
  17. ^ Buckley, p. 100–01
  18. ^ a b Buckley, p. 102
  19. ^ Halbersberg, Elianne. "Peter Cadet of R.E.M." East Coast Rocker. November thirty, 1988.
  20. ^ Buckley, p. 103
  21. ^ Buckley, p. 104
  22. ^ Buckley, p. 111
  23. ^ Buckley, p. 111–12
  24. ^ a b Fletcher, p. 106
  25. ^ Blackness, p. 94–95
  26. ^ R.E.Thou.'s official Instagram feed
  27. ^ Kot, Greg (March 24, 1991). "Traveling Through The Years With R.East.M." Chicago Tribune . Retrieved Jan 24, 2022.
  28. ^ Christgau, Robert (1990). "R.E.Chiliad.: Reckoning". Christgau's Record Guide: The '80s. Pantheon Books. pp. 342–43. ISBN0-679-73015-X . Retrieved Baronial 31, 2015.
  29. ^ Browne, David (March 22, 1991). "An R.E.M. discography". Entertainment Weekly . Retrieved August 30, 2015.
  30. ^ Hann, Michael (July 31, 2009). "REM: Reckoning". The Guardian . Retrieved August xxx, 2015.
  31. ^ LeMay, Matt (July 2, 2009). "R.E.Yard.: Reckoning [Deluxe Edition]". Pitchfork . Retrieved August xxx, 2015.
  32. ^ Fearn, Rob (September 2009). "R.East.Thou.: Reckoning: Deluxe Edition". Q. No. 278. p. 118.
  33. ^ a b Connelly, Christopher (May 24, 1984). "Reckoning". Rolling Stone . Retrieved March 27, 2011.
  34. ^ Nawrocki, Tom (2004). "R.East.M.". In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 685–87. ISBN0-7432-0169-8.
  35. ^ Torn, Luke (July viii, 2009). "Album review: REM – Reckoning (25th Ceremony Deluxe Edition)". Uncut. Archived from the original on Dec 6, 2010. Retrieved August thirty, 2015.
  36. ^ a b c Black, p. 94
  37. ^ Snowden, Don. "The Reckoning of R.Eastward.1000." Los Angeles Times. July 18, 1984.
  38. ^ R.E.1000. > Charts & Awards > Billboard Singles. Allmusic.com. Retrieved on December 3, 2010.
  39. ^ a b c Buckley, p. 357–58
  40. ^ Fletcher, p. 111
  41. ^ Buckley, p. 115
  42. ^ Gilded and Platinum: Search Results. RIAA.com. Retrieved on March 3, 2009.
  43. ^ Sasfy, Joe. "Reckoning With R.East.M." The Washington Post. May 10, 1984.
  44. ^ Snow, Mat. "American Paradise Regained: R.E.M.'due south Reckoning". NME. 1984.
  45. ^ Black, p. 103
  46. ^ Christgau, Robert. "The 1984 Pazz & Jop Critics Poll". Hamlet Voice. February eighteen, 1985. Retrieved on March ii, 2009.
  47. ^ "Best Albums of the 1980s (Page two)". Slant Magazine. Retrieved March 17, 2012.
  48. ^ Platt, p. 251
  49. ^ Los Angeles staff. "REM'southward 2d album to be reissued with previously unreleased live disc". NME.com. May 5, 2009. Retrieved on July 15, 2009.
  50. ^ Fletcher, p. 105
  51. ^ Black, p. 95
  52. ^ Gray, p. 292
  53. ^ "British album certifications – R.E.Yard. – Reckoning". British Phonographic Industry. Retrieved October six, 2021.
  54. ^ "American album certifications – R.E.Thou. – Reckoning". Recording Industry Clan of America. Retrieved Oct half-dozen, 2021.
  55. ^ "Reckoning". Discogs . Retrieved 15 June 2014.
  56. ^ "Reckoning". Discogs . Retrieved xv June 2014.
  57. ^ "Reckoning". Discogs . Retrieved fifteen June 2014.
  58. ^ "Reckoning". Discogs . Retrieved 15 June 2014.

External links [edit]

  • Reckoning at MusicBrainz
  • Reckoning at MusicBrainz (I.R.S. Vintage Years edition)

millmanhisird.blogspot.com

Source: https://en.wikipedia.org/wiki/Reckoning_%28R.E.M._album%29

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