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4.6 out of 5 stars 80 customer reviews

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Product Details

  • Audio CD (Feb. 10 1998)
  • Number of Discs: 1
  • Label: Universal Music Canada
  • ASIN: B000002UW1
  • Other Editions: Audio CD  |  Audio Cassette  |  DVD Audio  |  LP Record
  • Average Customer Review: 4.6 out of 5 stars 80 customer reviews
  • Amazon Bestsellers Rank: #44,179 in Music (See Top 100 in Music)
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1. Finest Worskong
2. Welcome to the Occupation
3. Exhuming McCarthy
4. Disturbance at the Heron House
5. Strange
6. It's the End of the World As We Know It (and I feel fine)
7. The One I Love
8. Fireplace
9. Lightnin' Hopkins
10. King of Birds
11. Oddfellows Local 151

Product Description

Product Description

Mid-priced reissue of the foreign edition of their 1987 landmark album with six bonus tracks added, 'Finest Worksong'(Other Mix), 'Last Date', 'The One I Love' (Live), 'Time After Time Etc.' (Live), 'Disturbance At The Heron House' (Live) and 'Finest Worksong' (Lengthy Club Mix). 17 tracks total, also including their first top 10 hit, 'The One ILove', plus the top 75 'It's The End Of The World As We Know It (And I Feel Fine)'. The album was their first to make the top 10, their first to go platinum and their last for I.R.S. Records.


Singer Michael Stipe finally confesses that even he doesn't know what he's trying to say--among the lines flying by are "tryin' to tell you something we don't know" and "there's something going on that's not quite right." But R.E.M.'s roar is at its sharpest, as Peter Buck's guitars twist up surf riffs and the Bill Berry-Mike Mills rhythm section captures the force of forebears Big Star and the Byrds. After half a decade of college-rock heroism, R.E.M. achieved its first hit album thanks to the rambling "It's the End of the World As We Know It (And I Feel Fine)" and the gentle (but subtly barbed) "The One I Love." --Steve Knopper

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Customer Reviews

4.6 out of 5 stars
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Top Customer Reviews

Format: Audio CD
In "Document" Micheal Stipe is probably at his least oblique and most veracious; which is not to say he is not oblique, but as one listens, he or she can only feel that this is as good as it will get. In a sence, "Document" is indeed as good as it will get. With the fine cacophonic banshee screams of "Finest Worksong" accompanied with the newspaper exerpt marvel of "It's the End of the World as we know it(and I Feel Fine)" the album is an unimpunged masterpiece.
Other poignant keepers that lurk in this politcal/introspective collge romp, include: the wry "Exhuming McCarthy," the proletarian "Oddfellows 151" and the unequivocally somber "the one I Love"
The Music beautifully backing Stipe's mellifluous vocals is also worth noting, because it really captures that timeless epoch of college pop. In other words, the album is brilliant in in its ability to sound distinct and melodic. Of course, Scott Litt's lush, ample production really aids "Document's" discrete and uninhibited sound.
So in the words of Michael Stipe "hang your Coller up at the door," listen to the somewhat abstruse words, and have a good time.
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Format: Audio CD
This isn't so much a review of Document, an album which is one of R.E.M.'s masterpieces and near and dear to my heart, as rather a commentary on some of the background with Document and some misconceptions about it. First of all, "The One I Love" is not a love song by anyone's stretch of the imagination so please don't go playing it at your prom! If anything it's an anti-love song, a vitriolic blast of anger and revenge. Also, "Oddfellows Local 151" is not necessarily about "alcoholism" as much as it's about anything else: R.E.M. reduced to a one-word description seems pointless to me, but I've always heard something almost supernatural/weird fiction about the song, and it's one of my favorites ever. Finally, it should be mentioned that both "The One I Love" and "Oddfellows" were so much better as live songs that you're almost better off listening to old bootlegs from 1987 then listening to the album versions. Anyone who was at The Felt Forum in 1986 and heard the band do these songs live will know what I'm talking about...go get those bootlegs! Now! And enjoy Document too.
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By A Customer on March 22 2000
Format: Audio CD
What made Document different from all the preceding R.E.M. albums? Well, first of all, you could understand the lyrics. No more trying to decipher Michael Stipe's vocals as he flung his imagery out there in a stream-of-consciousness manner (with, of course, the obvious exception of "It's The End of the World...")
Second, it actually spawned a hit single. Ironically (or maybe not so ironically), "The One I Love" is the song with the simplest message and the lyrics to go along with it. Since it's just a repeated verse, there is no great stretch to find the meaning behind it. I guess that meant it was okay for mass consumption, but I think it also meant that R.E.M. weren't tentative about jumping into the public eye beyond college radio.
Last of all, it's their last album on I.R.S. records before they jumped to the major labels with Green. It may not seem like much of a point in terms of what makes an album good, but if you listen to Document and Green back-to-back you get a definite sense that something has changed, whether it be subject matter, production values, or whatnot.
I may be in the minority in that Green and Document are my favorite R.E.M. albums, but I think the songs, particulary on Document, convey a great blend of affairs both political and of the heart. "Exhuming McCarthy" and "Disturbance at the Heron House" in particular catch you with their music and force you to pay attention to what they are saying. It's unusual to be able to trace a band's progression as artists so clearly as one can with R.E.M. albums. Whereas Green was the diving board that they used to plunge into the mainstream and Out of Time was the vessel that took them there permanently, Document was the ladder taking them up to make their leap.
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Format: Audio CD
The album's overtly political songs -- "Welcome to the Occupation," "Exhuming McCarthy," "Disturbance at the Heron House" -- turn some people off. They turned me off when the record came out in 1987. Some longtime fans will tell you that this marks the beginning of the end for the boys from Athens simply because "The One I Love" got some FM airplay. Don't listen to 'em; listen to the music. The political songs may be a little preachy, but they're catchy. "King of Birds" is soulful, beautiful and, best of all, simple. Michael Stipe's lyrics, no longer mumbled, are much less obscure than those of earlier efforts. "Lightnin' Hopkins" rocks; "Oddfellows Local 151," while wonderfully creepy with lots of feedback, also probes the causes of alcoholism, why drunks drink ("why do the heathens rage behind the firehouse?"). As for "It's the End of the World As We Know It (and I Feel Fine)," bar bands still bring the house down with this one every night, as long as the audience is of the right age and has consumed enough beer. R.E.M. turned any artsy pretensions on their ear with this one, a goofy kind of Generation X anthem.
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