Document (R.E.M. No. 5)

January 27, 1998 | Format: MP3

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Product Details

  • Original Release Date: January 27, 1998
  • Release Date: January 27, 1998
  • Label: IRS
  • Copyright: (C) 1987 Capitol Records, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 39:46
  • Genres:
  • ASIN: B000TRZ28E
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (144 customer reviews)
  • Amazon Best Sellers Rank: #14,264 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Good, intelligent rock music that will please any fan!
Dan Stanley
R.E.M.’s fifth album “Document” is the fifth studio album from 1987 was the last album of new material by the band released on the I.R.S. Records label.
Morten Vindberg
This is the album that introduced me to REM because "The One I Love" was their first song I had ever heard of theirs.
Melissa C. Jurgensen

Most Helpful Customer Reviews

32 of 35 people found the following review helpful By P Magnum HALL OF FAMETOP 1000 REVIEWERVINE VOICE on December 19, 2000
Format: Audio CD
Document was the album that helped elevate R.E.M. from kings of college radio to the mainstream. Buoyed by the catchy (and misunderstood) song "The One I Love", Document hit number 10 on the album charts. That's not too bad for an album made up of some highly political songs and some very non-commercial ones. "Finest Worksong" & "Welcome To The Occupation" open the album on a politically charged and powerful note. "Exhuming McCarthy" starts off with the sounds of a typewriter and then slides into pounding Bill Berry drumbeat and jangling Peter Buck guitar. "Disturbance At The Heron House" has a fine Michael Stipe vocal while "Strange" is an abbreviated number that has some good backup singing from Mike Mills in an almost doo wop style. "King Of Birds" has a deep south, r&b feel to it. "Lightnin' Hopkins" and "Oddfellows Local 151" are the strangest songs on the album with the later being drenched in feedback. "The One I Love" became the first song by the band to gain major radio-play and actually peaked at number 9 on the charts. On the surface, the song seems like a love song, but it is really a barbed attack. "It's The End Of The World As We Know It (And I Feel Fine)" is the centerpiece of the album though. Michael Stipe sings at a breakneck speed and the song is one of the best of the 80's. Many ardent R.E.M. fans dismiss this album as the band selling-out, but that is hardly the case. R.E.M. remained true to their roots and actually released a typically non-commercial album that became a commercial success due to people finally realizing the greatness and talent of the band. They show that you can become superstars on your own terms.
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15 of 15 people found the following review helpful By Brian May on March 28, 2000
Format: Audio CD
This is by far my favourite R.E.M. album. "Document", released in 1987, gripped my senses the first time I heard it and hasn't let go. It is one of R.E.M.'s angriest albums, politically charged and quite chaotic. The subtitle "File Under Fire" is quite appropriate - fiery images permeate through the album. The very beginning of the first track, "Finest Worksong", conveys a feeling of industry and steel, with Michael Stipe's (now quite intelligible) vocals adding a sense of urgency. This song, and the remainder of the first side (with the exception of the interlude-like "Strange") is highly political. The brooding, disturbing "Welcome to the Occupation", the hectic "Exhuming McCarthy" and the Orwellian fable "Disturbance at the Heron House" are all short, fast and angry protests against the strong tide of political conservatism that dominated in the Reagan era. The song that encapsulates the fire and chaos is the manic "It's the End of the World as We Know It (and I Feel Fine). With abstract and often nonsensical lyrics spewing from Michael Stipe's mouth, it is both humorous and deadly serious. Side two is also dominated by images of fire, but the political theme has gone. "The One I Love", R.E.M.'s first big hit and much misinterpreted anti-love song is searing, burning itself into your mind. "Fireplace" is one of R.E.M's most underrated (and one of my all time favourite) songs. It's a delightful, anarchic song of carefree, reckless abandon which also manages to sound subversive. The brilliance of "Document" (as is the case with most of R.E.M's music) is that subversion does not necessarily mean taking up arms.Read more ›
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16 of 19 people found the following review helpful By Amazon Customer on June 27, 2003
Format: Audio CD
Considering that this was R.E.M.'s strongest collection of songs since their debut, there's a strange sense of uncertainty about the whole project.
You listen to the first four cuts and think "Aha, another political statement from the band that brought you Lifes Rich Pageant the previous year." Taken together, "Finest Worksong," "Welcome to the Occupation," "Exhuming McCarthy" and "Disturbance at the Heron House" sound very much like a sort of State of the Union address. In each cut you get a different take on America - the dignity of its workers, the evils of its interference overseas, its historical insistence on conformity and its domestic paranoia. "McCarthy" has a few awkward moments, but overall the music displays this band's usual mastery of style and technique; these songs move. Then there's a cover version of Pylon's "Strange" and the whole thing breaks apart.
I can't help thinking that the interruption is deliberate. R.E.M. had played plenty of covers before, and even recorded a few, but this was almost the first time they put one on a regular album release, and it's about as close to punk as they had come. (There was "Superman" the previous year, but that one came at the end of the collection rather than the middle, and it was an obvious throwaway.) "Strange" is like a signal to the listener, saying "Whatever you think you've been hearing, that's not it." Then the band proceeds to prove it - the rest of "Document" has nothing to do with political commentary.
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