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And I Feel Fine.....The Best Of The IRS Years 82-87

September 12, 2006 | Format: MP3

$10.49
Also available in CD Format
Song Title
Time
Popularity  
30
1
3:29
30
2
4:06
30
3
3:50
30
4
3:22
30
5
4:33
30
6
3:17
30
7
3:29
30
8
4:15
30
9
3:13
30
10
3:23
30
11
3:39
30
12
3:47
30
13
4:51
30
14
3:48
30
15
4:07
30
16
4:21
30
17
3:17
30
18
2:46
30
19
2:51
30
20
3:29
30
21
4:05
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Product Details

  • Original Release Date: September 12, 2006
  • Release Date: September 12, 2006
  • Label: Capitol Records
  • Copyright: (C) 2006 Capitol Records, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:17:58
  • Genres:
  • ASIN: B000SXJMTO
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (70 customer reviews)
  • Amazon Best Sellers Rank: #31,778 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Most Helpful Customer Reviews

88 of 92 people found the following review helpful By scooob on January 6, 2007
Format: Audio CD
Firstly, the music on this collection is stupendous. In the 80's, R.E.M. was the most consistently excellent, yet idiosyncratic and unconventional, band around and each release was a new gift. I don't have many quibbles with the song selections made for this best-of, and getting the second disc for not much more than the price of the single-disc version is a value. If you don't know early R.E.M. very well, this is a great place to start.

But... as several other reviewers have commented, this release was mastered to sound as loud as possible. And at first listen, it sounds great. Then, after it's on for awhile, you will probably find yourself turning the volume down, and even thinking about turning it off. That's because the mix has been highly compressed - that's how they get newer CDs to sound so much louder than old ones, but it's akin to how a loud commercial suddenly comes on when you're watching a TV show and sends you jumping for the remote to turn it down. It becomes obnoxious and irritating when everything is so loud all the time, and robs the music of all dynamics. And if you listen closely you'll hear distortion - they mix it so high that they're actually introducing clipping, which means flattened sound waves that results in a static-y edge to the sound.

Unfortunately this is a trend that has been going on with CD mastering for the last decade, though it gets very little publicity. The record companies do it because they think we like it, and actually many of us think we do, judging by a lot of the positive comments on the sound of overloud remasters. But once you're aware of it, you'll notice it, and you'll start to feel ripped off. The public needs to tell the record companies we want quality remasters that don't compromise true fidelity and range for shallow loudness and distortion. To learn more on this topic, do a web search on "loudness war".
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99 of 112 people found the following review helpful By Crashon Delamuze VonSamboilop on September 26, 2006
Format: Audio CD
This is really sad, this is an otherwise excellent collection. But in today's quest for everything to be LOUD, the over compressed this so that it's lost almost all dynamic range, and is just stressfull to listen to. You hear things you never did before-- BECAUSE THAT WEREN"T SUPPOSED TO STAND OUT IN THE MIX! Everything just stays at the same level, it sounds like there are some phase issues on some tracks as well.

I just encoded a couple tracks and the originals, do that if you want to see it-- the songs are all peaked at max level throughout on the remaster. The original has highs and lows...well, dynamics! imagine that! This is unlistenable to me, stick with the original. Of course it may be worth having for the rare stuff, sadly that's no better. Every instrument at the same level. REM from this time is classic, but they've butchered it.
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18 of 19 people found the following review helpful By John L Murphy TOP 500 REVIEWERVINE VOICE on December 10, 2006
Format: Audio CD Verified Purchase
Not bad, could have been better. The more I hear this, the more these remastered studio cuts sound muffled. Less than 4 stars if I could; 3.5 at best in a calibrated estimation. I agree with many comments posted here: more rarities, live cuts, unreleased songs, and alternative mixes should've filled up all of disc 2--the reason anyone with the REM albums would bother to buy this anthology in the first place, right?

Why not three discs: one live, one rare, one great tracks (not merely the familiar ones)? Oh well. What works best on disc 1 is the sequencing; I imagine this is what circa 1987 might have been a wonderful concert set list. Even the five or six songs out of the 21 that I tend to skip when playing the original albums fit in and you can see the intelligence with which the melodies segue from track to track.

But, if this was all, as on the cheaper one-disk version, it'd be another cash cow, milking the magical potion that sparked the imaginations of REM at its best around twenty years ago. Less so by ten years ago, and as for now, well their last two post-millennial CDs show sadly another band that should have packed it in like they promised, either by our millennium's arrival or the departure of one of the original quartet. Both events came and went, and what REM stood for in the annals of college rock is best left to the best songs on this disc.

These may not be the songs with which they'd rise (like U2) to the top of the charts across the world, but as the notes show, these are the songs that built, listener by listener, town by town, concert at the club and college radio station at a time, their artistic reputation among their first American followers.
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9 of 9 people found the following review helpful By R. P. Jones on December 9, 2006
Format: Audio CD Verified Purchase
On the lower floor of my college student union building, next to the coffee house, was a small, dark room with some couches and a projection TV. Every day at around noon, they would play a videotape of the previous night's "Late Night with David Letterman" show, and it was here that I got my first look at the four rag-tag guys who called themselves R.E.M. It was the mid-80's and popular music was in desperate need of something meaningful, having been caught in a strange brew of MTV celebrities (Michael Jackson, Boy George, Madonna); boyish, one-dimensional Teen-Beat groups (Duran-Duran, Culture Club, Wham); and the heavy-metal hair bands who couldn't accept (as in "This is Spinal Tap") that the late 70's were over.

Then appeared R.E.M. Four guys who weren't from London, New York or L.A. but from the unlikely southern college town of Athens, Georgia. Their music was simple but catchy, hard-edged but not offensive. Their lyrics (if you could make them out, which was always part of the fun) actually made listeners think, something that had been out of style since before the disco era. The band wasn't self-consciously political but they soon found a college audience who were looking to be challenged a bit. The rest of the story doesn't need to be told. Not until Nirvana came along in the early 90's would another garage-rock band influence music in such a profound way.

Sadly, as all good things must end, so did R.E.M.'s IRS years. 1988's "Green" moved the band to a major record label and put them in the national spotlight. Their small audience could no longer claim the band as their own. College radio gave way to "alternative rock" and eventually to hip-hop and rap.
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