7 of 7 people found the following review helpful
on 20 July 2001
This was REM's first attempt, and a pretty good one at that. "Radio Free Europe" is a great example of what they can do but what exactly does Micheal Stipe mean. There's something to think about. The album in general combines all the usual REM qualities, but with a different energy about them. Murmur, released over two decades ago is the best debut ever, as proven in "Sitting Still" and "Talk About the Passion". As a fan of REM I really liked this one because it is so easy to listen to. Everything about it - The guitars, vocals, lyrics and even backing vocals unite to make this a masterpiece.
4 of 4 people found the following review helpful
REMs remarkable rise from US cult darlings to corporate rockers with a conscience effectively starts here, and this excellent remastered cd and live show hints that the building blocks for success were well and truly established from the bands early releases. Both enigmatic and accessable Murmer is a fine debut that has not lost its charm in the long passage of time since its release.
The remastering has given more depth and warmth to Peter Bucks, often subtle, guitar playing, and goes some way to highlighting the crucial role the much missed Bill Berry played in developing the rhythmic templates from which the bands music would emerge. Berry's solid, unspectacular, but focused time keeping was the heartbeat from which REM built their fine songs, and something they have sadly never replaced effectively since his departure.
Highlights on the first disc are the stunning Talk About The Passion, which reaches out from the speakers in a wall of jangly guitars, with one of Michael Stipes most mumbled vocal performances. All that has made REM such a great band over the years is caught in just over 3 minutes.
Other highlights include Radio Free Europe, and the haunting Perfect Circle, with its distinctive piano motif never sounding better.
Although Murmer was a fine debut album, better still would follow, and this release is slightly let down on the first disc by a lack of additional studio material.
The second disc of a live show from Toronto, however is excellent, and whilst it retains a bootleg quality [ albeit a very good one!], formative live versions of classics like Seven Chinese Brothers,and Gardening At Night would have made this a worthwhile release on its own.
Michael Stipe is in a playful mood with the audience, and at times his vocals are actually quite clear! But it is the interplay between the 3 musicians that really comes through this release, and proves beyond doubt that REM were destined for greatness.
If this show had been released on its own i would recommend it, the fact that it is part of an excellent double cd package makes it an essential purchase for anyone who remembers just how great REM were.
15 of 16 people found the following review helpful
on 17 February 2009
Years and years ago Rolling Stone magazine described REM as the "only American band that mutters". It's a good line and pretty accurate too. Deliberately muddy, muddled productions coupled with Mike Stipe's largely incoherent singing could have made the first couple of albums unlistenable but they don't; both Murmur and Reckoning welcome you in with their beguiling half-grabbed tales spun with gorgeous melodies, great playing and spine-tingling and unexpected harmonies. The first time I saw them was in the SFX in Dublin in 1984 and I was awed by the size of the sound they made - didn't catch a word of Stipe's mumblings, didn't need to; his voice was just another instrument in that fabulous sound.
So, now, 25 years on, Greg Calbi has remastered Murmur and we can breathe easy. It's still as complex and wonderful, it just sounds better. There is more separation of sound and the stereo mix is more distinct but those are the minor points; the sound is as vital as ever and if nothing else it allows us a chance to revisit the album and consider whether it is worth revisiting. As with a lot of older generation CDs the earlier pressings of Murmur were horrible transfers with little care being given to even approximating the sound of the vinyl. I rarely listened to the Murmur CD I've owned for years, preferring to listen to the now well weathered LP, not because of any particular preference for vinyl but because the original CD just sounded awful. This new mix is a joy: the songs leap and bound from the speakers and they sound as great as ever. While acres of reviews have focused on Stipe's lyrics and singing and Buck's guitar playing they frequently overlook the fact that REM were a band and that the sound and the songs were the product of the four of them interacting and melding with one another. Much like The Band, REM's sound was a seamless mix of sligthly off kilter, yet perfectly poised, voices and sounds. Stipe, Buck, Mills, Berry stand up and take a bow. Murmur still sounds vital, passionate (talk about it...), alive and bursting with ideas and joy. Worth revisiting? Absolutely. Worth buying? Unquestionably.
The bonus disc (recorded at a Toronto show in 1983) mixes songs from the first couple of albums and EPs and is a fine showcase of just how good a live band REM were back then. Callow young dudes they may have been but they sound so assured and so brashly confident, and why wouldn't they? All those great songs seemed to be tumbling out of them at the time.
Well done REM; now dig out those Reckoning tapes and give Mr Calbi a call.
14 of 15 people found the following review helpful
One of the problems with "Eponymous," the 1988 album that is a collection of singles from the first five R.E.M. released on I.R.S., is that it stops a lot of people who jumped on the bandwagon when the Athens group switched to Warner and made it to the top of the music world with their hit "Losing My Religion" from going back and listening to those earlier albums. That would be a mistake, because that would mean missing out on "Murmur," the 1983 album that created R.E.M.'s distinctive sound and which, in retrospect, can be seen as an important album in the history of music as representing the move from post-punk to alternative music. "Murmur" only made it to #178 on the Billboard 200 chart (#36 for the Pop Album version), but this is clearly a case where the tree in the forest most definitely makes a sound, regardless of the number of people there to hear it. Remember that "Rolling Stone" named "Murmur" the best album of 1983, which was the year of Michael Jackson's "Thriller" and the Police's "Synchronicity."
R.E.M. was formed in Athens, Georgia in 1980, originally playing under the name Twisted Kite and performing garage rock covers and original folk-rock songs. "Radio Free Europe," their first single, was recorded in 1981, released on the tiny Hib Tone label, and showed that all of the pieces that would becoming familiar, the jangle pop sound and cryptic lyrics, were already in place: you cannot help singing along with the chorus even if you have no clue what the rest of Michael Stipe's lyrics are saying. The single topped the "Village Voice" poll for Best Independent Single, and landed the group the I.R.S. contract. After an EP, "Chronic Town," the full-length "Murmur" constituted the group's debut album. While there is not another track as solid as "Radio Free Europe" on the album, the rest of the songs are clearly in that vein.
The songs on "Murmur" have an atmospheric quality that is quite distinctive, although you can certainly see strong folk-rock, post-punk, and garage-rock elements throughout, although what R.E.M. does with those elements is unique as well. "Talk About the Passion" is the other signature song from the album, and a prime example of how Stipe's lyrics attain great depth by refusing to be pinned down (although having some lyrics in French is adding insult to injury for those of us who always have trouble understanding what exactly he is singing). "Catapult" is a good example of what a pop song sounds like in R.E.M.'s hands (and the effective way in which bassist Mike Mills often responds to Stipe's vocals in the chorus), with "Pilgrimage" and "Perfect Circle" showing their expanding musical range. This is not to say all of these songs hold up; "Moral Kiosk" sounds rather dated as the exception to the rule. But overall this is a landmark album should end up being one of your favorite R.E.M. albums.
2 of 2 people found the following review helpful
on 1 December 2012
MURMUR, R.E.M.'s debut, stands as one of the most unique albums in the `canon' of rock music. It sounds like an island unto itself, with its closest kin in the band's catalogue being the next LP, RECKONING.
From a production standpoint, the album sounds very balanced, meaning all the instruments and vocals are not dominant in the mix. Although there are complex dynamics going on within the songs, this comes from the songwriting itself, not post production doctoring of the actual recordings. Melodically the band shows its chops - this is some of their best work in that department, although R.E.M. has given the world some great melodies throughout their career.
For fans only familiar with their Warner material (or the IRS hit "The One I Love", MURMUR will sound more alien to them than even to a first time listener of this record without the rest of the band's output to judge by or put into context. Growing up, I first began listening to R.E.M.'s 1990s output, starting without my brother's copy of AUTOMATIC FOR THE PEOPLE and then moving on to MONSTER, etc. I also got a tape (remember those?) at a pawnshop of AUTOMATIC which I listened to constantly. In fact, I would even say AUTOMATIC, along with Dylan's HIGHWAY 61 REVISITED and The Doors' 1967 debut are the albums I listened to the most during my growing up years. In that same pawnshop I was told that MURMUR was one of R.E.M.'s best albums, and easily one of the best records from the early 1980s, but I was not fated to gain access to this music during that part of my life.
The point being, I didn't start with MURMUR. I was one of those 1990s kids who started listening to R.E.M. in the middle of their career. When I did get to college (appropriately)and downloaded MURMUR, I was absolutely astonished.
There was such a disconnect from MURMUR and everything else I've ever heard from the band. I then promptly went through the rest of their IRS catalogue. While I found the remaining four albums from that part of R.E.M.'s catalogue notable, none of them ever really clicked for me in the way that MURMUR did. And I felt like I was listening to a different band than the one I had been listening too all those years (almost religiously, for that matter). I felt like R.E.M. was like The Who in this regard - there is such a divide starting with WHO'S NEXT onward compared to TOMMY and all the records before TOMMY. Likewise, for R.E.M. the divide starts with OUT OF TIME, which strangely enough is the SECOND Warner brother album.
When Peter Buck said they made the record devoid of influences, this album proves he is telling the truth. The closest thing I can think of to this is The Byds with their jangly arpeggiated work, but that's about it. There are elements of jangle pop, folk, and garage rock, all subverted into the bizaare prism that R.E.M. was channeling when they wrote this music. But none of the songs sounds like anything else I've heard. They are completely stripped of any recognonizble tradition, and sound as if they came out of nowhere.
It's like the songs on MURMUR had always existed, separate and alone, from the rest of popular music. And that's how it should be
In this way, MURMUR is very detachable from R.E.M.'s catalogue (and would be from almost anyone else's catologue for that matter). Although MURMUR is the logical starting point (with CHRONIC TOWN as a prologue) to the IRS years, there is nothing before MURMUR or after MURMUR that I have heard that sounds like it belongs in the same category or even same planet as this record. The closest two records or EPs that I know would be the bookends to this - CHRONIC TOWN and RECKONING, although neither quite fit the bill. CHRONIC TOWN comes closer to MURMUR than reckoning though.
Much has been made of Stipes singing and incomprehensible lyrics. His lyrics and singing fit into the overall production of the album - even keel, not distinct from its musical surroundings, but inextricably a vital part of the whole. Like its title, MURMUR, Stipe's lyrics play with your head, never becoming quite clear, but very awesomely resonating.
If you read the reviews on this a lot of people talk about the timelessness of the music. That is probably the most accurate description of this music. It is timeless. It sounds as if it created its own musical world, alone, beautiful, and wholly unique. Also put into context that this was 1983 with hair metal, heavy metal, and MTV exploding, MURMUR becomes all the more remarkable. When you listen to the other music from 1983 (like Michael Jackon's THRILLER and The Police's Synconicity) synchronicity SYNCHRONICITY), it shows you how underground and far out this music truly way.
Overall, R.E.M.'s best album by far. Although the band has made lots of great music since this awe-inspiring LP (and arguably whole albums' worth), they never made anything that sounded quite like this.
But then again, no one else has either. This is truly one of the world's first mainstream alternative albums.
2 of 2 people found the following review helpful
on 4 September 2005
Before REM lost their muse and their cult status, there was the pre-Warner days, there was Murmur. This is in every sense of the word, a 'timeless' piece of music. An album awash with mystery, beauty, depth and soul which inspired the more ambiguous nature of what a band can create, thus creating alternative rock (not bad for a debut).
The songs are constructed in recognition of the bands traditional folk inspirations, with winding melodies (Perfect Circle) and ringing guitar tones reminiscent of The Byrds, with a seemingly effortless and sublime sense of melody.
But to say the sound is derivative would be unwise, this is as an orginal and fresh - sounding an album that has been made in the history of rock music, thanks to the clean and smooth production and Stipes's impassioned, yet hardly comprehensionable vocals. However a look at the lyrics gives subtle imagery of geisha gowns, two headed cows and cists, and cites historical occurences ('We Walk' is about Corday murdering Marat in his bath)and greek mythology without the slightest bit of pretension, which is a remarkable achievement in itself.
Also, what's so suprising is the distinctive and assured sound the band managed to create for themselves in such a short space in time, it's almost as if these four men were born into the music and it is merely an extension of themselves.
And what's even more remarkable is how well the album has aged and how 'timeless' it is. I have no hesitation in stating that if this album was released this year it would sound as modern and important as anything else going (although with this tedious 'retro rock' craze going on at the moment this is not much of an achievement I suppose).
Goundbreaking, 'timeless', inspired, inspirational, traditional and modern all at once, that was REM.
2 of 2 people found the following review helpful
on 1 February 2007
These days the statement 'Best Debut Album Ever!' gets bandied about a great deal by such hyperbole-ridden wagon jumpers as the NME and their ilk. However, it is this album that is probably the best debut album ever, and it's almost 25 years old.
A lot has been made of Stipe's 'mumbling' vocals. Personally, I don't see it - they are as comprehensible as any other indie-American band, and some of the lyrics are truly charming. However, yes, it is the music that makes this album what it is. From the child-like glee of 'Catapult' to the sorrowful yearnings of 'Perfect Circle' (far better than the band of the same name), this album is a triumph of simple melody and open chords.
The album contains all of the hallmarks of a 'typical' R.E.M. album. It has the silly stomper ('We Walk'), which laid the groundwork for 'Stand' and 'Shiny Happy People'. It has the epic ballad ('Talk About the Passion', a la the later 'Everybody Hurts' and the rock staple ('Radio Free Europe) which is the predecessor to 'What's the Frequency, Kenneth?'. It is a precursor of things to come, and in retrospect we see a band that was laying down its blueprints at a very early juncture. For this singularity of purpose, R.E.M should be congratulated, as it has certainly paid off.
They Shook Through just fine.
10 of 11 people found the following review helpful
on 11 July 2009
I've been listening to Murmur on a fairly regular basis for the last 25 years, so I guess I'm not going to get sick of it now. It's simply one of the great albums, the band's flawless, almost engineered playing a perfect foil for Stipe's gnomic mutterings and matchless tunes. There's a strong case for saying that this is the greatest debut in rock and roll, and though REM would offer many peaks and delights over the next few years, they would never again match the energy, consistency and coherence of this album (though 'Reckoning', the next album would push it pretty close).
Chances are though, that if you're reading this you already know what a great album Murmur is. What does shelling out for the Deluxe edition get you? First, a remixed/ remastered version of the original. Enough to justify the entry price alone, the sound is crisper, cleaner, without losing the organic warmth of the original, and Bill Berry's drums are pushed up in the mix to great effect - this album seems even more driven than the original. The bonus album is what really makes it worthwhile though - a set from 1983 that captures REM at the top of their early game, still playing the clubs, but bursting with material that would soon prove to be world class. The act is honed to perfection and delivered with absolute confidence by a perfectly balanced four piece. Berry's drums propel the set along with taut precision, Mills - arguably the star here - somehow providing a melodic conterpoint to both Buck's chiming Rickenbacker and to Berry's rhythm, the whole supporting Stipe's flights of fancy like a sprung floor.
Murmur 'Deluxe' is like an old master lovingly cleaned and restored. Just fantastic. Play it loud, play it often.
2 of 2 people found the following review helpful
on 29 March 2009
Other reviewers have already written very eloquently on why R.E.M matter and why this album in particular matters, but even if you already own 'Murmur' (as I did), it's worth investing in this Deluxe Edition. The remastering of the album has given it a much crisper, cleaner sound, which really, really makes a difference to the old mix (and I'm usually loathe to fork out for remastered editions of albums). Secondly, you have the bonus CD with an entire live album on it. This is from a previously unreleased gig in Toronto in 1983, comprising of most of the 'Murmur' material as well as tunes from 'Chronic Town' and 'Reckoning'. The sound quality and the quality in general of the performance are superb -this could really be a separate album in its own right, except it wouldn't sell because many people only know R.E.M's overrated 1990's catalogue.
For me, 'Murmur' is right up there as one of R.E.M's greatest moments. They were never more mysterious, ominous, tuneful or captivating as this, and if you're unfamiliar with their early stuff, go straight for this Deluxe version and get the extra live CD.
9 of 10 people found the following review helpful
Critics and fans alike often say the same thing when talking about R.E.M. - the phrase "not as good as they used to be" regularly crops up, and as much as I love the band it pains me to say that although they're still a brilliant live act, their albums just aren't what they used to be. Like many, I first discovered the band when the "Out of Time" album was released, and then started to work my way through their back catalogue. Back then, when I first heard "Murmur" it was something of a revelation for me, and listening to the deluxe edition now it remains a seminal piece of work.
Casual fans won't find any songs here which they have heard before, with the possible exception of "Radio Free Europe", but there is much to enjoy. Right from this, their first album, their signature sound was there, and the songs are just extraordinary. For me, "Talk About The Passion" remains their finest ballad, and up-tempo tracks like "Moral Kiosk", "Catapult", "West of the Fields" and "Laughing" are among the best they've recorded. In fact, if I was asked to assemble a "Best of R.E.M." compilation for somebody I think at least three-quarters of this album would appear for starters.
For those of us who already love the album the deluxe edition is still a worthy purchase, and not purely because of the live CD which comes in the package. The main selling point for me was the fact that the album had been remastered, and so it now sounds cleaner and clearer than before, although you'll still find it difficult or impossible to decipher the lyrics of many of the tracks. There is a leaflet enclosed which folds out to a poster of the album's distinctive cover art, and the rear has accounts by various people (apart from the band) who worked on the album, which makes for interesting - if difficult, owing to the layout - reading, and you'll discover just what the strange sounds in "Radio Free Europe" and "We Walk" are at long last.
Many argue - rightly, in my opinion - that R.E.M. were at their best during their years with the IRS label (as witnessed in their excellent "...And I Feel Fine" compilation) and this album underlines this belief, and in some respects they have never topped this, their debut.