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Track List
01) Harborcoat
02) 7 Chinese Bros.
03) So. Central Rain (I'm Sorry)
04) Pretty Persuasion
05) Time After Time (Annelise)
06) Second Guessing
07) Letter Never Sent
08) Camera
09) (Don't Go Back to) Rockville
10) Little America
01) Harborcoat
02) 7 Chinese Bros.
03) So. Central Rain (I'm Sorry)
04) Pretty Persuasion
05) Time After Time (Annelise)
06) Second Guessing
07) Letter Never Sent
08) Camera
09) (Don't Go Back to) Rockville
10) Little America
3:57
4:14
3:16
3:53
3:33
2:49
3:02
5:51
4:33
3:42
Data Complete
90%
Total Rating
90%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1984
Pop-Rock
Moody
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Reckoning es el segundo álbum de estudio de la banda estadounidense de rock alternativo R.E.M., lanzado en 1984 a través de I.R.S. Records. Producido por Mitch Easter y Don Dixon, se grabó en el Reflection Sound Studio en Charlotte, Carolina del Norte en 16 días entre diciembre de 1983 y enero de 1984. Dixon y Easter intentaron capturar el sonido de las interpretaciones en directo del grupo y usaron una técnica de grabación binaural en varias canciones. El cantante Michael Stipe empleó temáticas más oscuras en sus letras y las imágenes relacionadas con el agua son un tema recurrente en el disco. El álbum recibió elogios de la crítica y llegó al puesto 27 en los Estados Unidos, donde recibió un disco de oro otorgado por la RIAA en 1991 y llegó al número 91 en el Reino Unido.
User Album Review
The second album from the Athens, Georgia band builds solidly on the muddy foundations of their debut; showing a more expansive sound from Peter Buck's guitar, that jangles, flirts with and teases Mike Mills' chirpy bass lines; all driven along by Bill Berry's muscular drumming. There's an upbeat, cheery swagger to the mix, with only a couple of tracks allowed to meander off like Sunday afternoon garage-band jams.
The major change in their sound however comes from Michael Stipe's fresh-laundered and sweet smelling vocals, that surface from the swamp-like sound of Murmur (their appropriately titled first album) to take a far more active role. When he shakes off his air of lethargic, suburban ennui, he lets an enormous passionate energy shine through, and it brightens up the whole R.E.M. experience.
Stipe is as querulous and apparently amazed by the modern world that he digs into here, but appears far more confident, if just as intriguingly obscure, as a lyricist. His elegant delivery, pitched in the lower register, demands comparison with the contemporary work of The Smiths over in Manchester, but Stipe's wry faux-innocence couldn't be anything but late-twentieth century American.
Although there's more than a hint of the Byrds' one-time fascination with harmony and a twelve-string Rickenbacker in its production, the set taken as a whole shows that R.E.M. remain ferociously indie and seemingly uninterested in mainstream success, secure in the embrace of their growing hometown audience, and happy to continue their thorough exploration of conventional rock format and song structures.
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User Comments
Available in:
Reckoning es el segundo álbum de estudio de la banda estadounidense de rock alternativo R.E.M., lanzado en 1984 a través de I.R.S. Records. Producido por Mitch Easter y Don Dixon, se grabó en el Reflection Sound Studio en Charlotte, Carolina del Norte en 16 días entre diciembre de 1983 y enero de 1984. Dixon y Easter intentaron capturar el sonido de las interpretaciones en directo del grupo y usaron una técnica de grabación binaural en varias canciones. El cantante Michael Stipe empleó temáticas más oscuras en sus letras y las imágenes relacionadas con el agua son un tema recurrente en el disco. El álbum recibió elogios de la crítica y llegó al puesto 27 en los Estados Unidos, donde recibió un disco de oro otorgado por la RIAA en 1991 y llegó al número 91 en el Reino Unido.
User Album Review
The second album from the Athens, Georgia band builds solidly on the muddy foundations of their debut; showing a more expansive sound from Peter Buck's guitar, that jangles, flirts with and teases Mike Mills' chirpy bass lines; all driven along by Bill Berry's muscular drumming. There's an upbeat, cheery swagger to the mix, with only a couple of tracks allowed to meander off like Sunday afternoon garage-band jams.
The major change in their sound however comes from Michael Stipe's fresh-laundered and sweet smelling vocals, that surface from the swamp-like sound of Murmur (their appropriately titled first album) to take a far more active role. When he shakes off his air of lethargic, suburban ennui, he lets an enormous passionate energy shine through, and it brightens up the whole R.E.M. experience.
Stipe is as querulous and apparently amazed by the modern world that he digs into here, but appears far more confident, if just as intriguingly obscure, as a lyricist. His elegant delivery, pitched in the lower register, demands comparison with the contemporary work of The Smiths over in Manchester, but Stipe's wry faux-innocence couldn't be anything but late-twentieth century American.
Although there's more than a hint of the Byrds' one-time fascination with harmony and a twelve-string Rickenbacker in its production, the set taken as a whole shows that R.E.M. remain ferociously indie and seemingly uninterested in mainstream success, secure in the embrace of their growing hometown audience, and happy to continue their thorough exploration of conventional rock format and song structures.
External Album Reviews
None...
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