Browsing Tag

R.E.M.

Career Killers: “Door to Door” by The Cars

Many artists have done the “back to basics” album at some point in their careers.

Sometimes, there are legitimate artistic reasons for this. Maybe they’ve been experimenting with new sounds for too long and felt like there was nowhere else to go. For instance, U2 seemed to hit the electronic wall following Pop, resulting in their back-to-basics follow up, All That You Can’t Leave Behind.

Or maybe they veered too hard into commercial territory, got backlash from their hardcore fans, and decided to get back to their roots. This was the stated purpose for Metallica’s St. Anger album, until lots of other things got in the way. Ultimately, their follow up albums, 2008’s Death Magnetic and 2016’s Hardwired… To Self Destruct were more in line with their 80s classic sound.

But sometimes, a “back to basics” album is a “Hail Mary” — a desperate ploy from an artist to stop his or her decline, or from a band to paper over some cracks and avoid a breakup. The proposed Get Back album and movie project for the Beatles turned out to be examples of this, as the band broke up before either were released (we’ll get to see some of that footage in November, when Peter Jackson’s documentary is released on Disney+).

Likewise, Door to Door (1987) marked the moment The Cars broke down and got put on concrete blocks, ending their run as hitmakers and exacerbating personal conflicts between members that broke them up for the better part of two decades.

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Career Killers: “Adore” by the Smashing Pumpkins

Mike Love may be a good rock ‘n roll heel, but Billy Corgan is an actual heel. The longtime wrestling fan and eventual promoter and on-air authority figure made a conscious decision, from the beginning, to be the bad guy. “In the early years of the Smashing Pumpkins, I saw that I was going to be treated as an outsider,” he told Rolling Stone in 2016. “So rather than play along, which is what you’re supposed to do, I decided to play heel, in wrestling parlance, and have fun with it… I’d rather be that heel than the babyface who goes along to get along.”

He did a great job. Despite his obvious talent (the Pumpkins singer and lead guitarist wrote almost all of the songs and played, pretty much, everything except for drums on the band’s first two albums), Corgan became one of the least likable people in music. He tossed off arrogant quotes to the music press more easily than Ted DiBiase threw his money around to move to the front of the line at an emergency room, close down a public pool or buy himself a championship belt because he was upset he couldn’t win the actual one. He treated his bandmates like employees, hiring and firing them at will or blaming them for breaking up the band when he was always on the one in charge. And he certainly wasn’t humble. “Do I belong in the conversation about the best artists in the world? My answer is yes, I do,” he said to Rolling Stone in 2010.

So like watching the hated heel get his comeuppance, there was quite a bit of schadenfreude in seeing Corgan fail. And with 1998’s Adore, Corgan did so in spectacular fashion, bringing his band’s momentum to a screeching halt and ending its run as one of the biggest and most popular alternative rock bands in the world.

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The Long Goodbye

“The photograph reflects. Every streetlight a reminder.” — “Nightswimming,” R.E.M.

“These wheels keep turning but they’re running out of steam. Keep me in your heart for a while.” — “Keep Me In Your Heart,” Warren Zevon

These are some of the last photographs I took of Bernie. Looking back, I can’t help but wonder if he was saying a long goodbye by doing certain things one last time.

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Career Killers: “Turn It Upside Down” by The Spin Doctors

UPDATE (07/06/2021): Thanks to Todd in the Shadows for citing this review in his latest episode of Trainwreckords.

We may remember the 90s as a turbulent period in music, full of angsty grunge and alternative bands like Nirvana, Pearl Jam, Smashing Pumpkins, Alice in Chains, introspective singer-songwriters like Alanis Morissette, Sheryl Crow, Jewel and Sarah McLachlan, gangsta rappers like Dr. Dre, Snoop Dogg, Biggie and 2Pac and superstars going through ironic and/or cynical stages like U2 and R.E.M.

But not everything was doom-and-gloom. Divas like Mariah Carey, Celine Dion, Whitney Houston, Madonna and Shania Twain sold boatloads of records and dominated the pop and album charts. The 90s also brought us the extremely non-ironic and safe-for-mass-consumption Hootie and the Blowfish, who became a cultural phenomenon when they released Cracked Rear View, one of the best-selling debut albums of all time. The decade also saw 80s stars like Bryan Adams, Aerosmith, Bon Jovi and Sting reach even greater heights. Even the hip hop world found room for decidedly non-gangsta acts like The Fugees, PM Dawn, Will Smith, Arrested Development and OutKast. And of course, by the end of the decade, the biggest-selling artists were bubblegum acts and boybands like NSYNC, the Backstreet Boys and Britney Spears.

Then there were the Spin Doctors.

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Career Killers: “Liz Phair”

Plenty of artists with cult followings go mainstream and become popular.

R.E.M. went from highly-regarded college band to one of the biggest and most acclaimed groups in the world. Metallica slowly and steadily built up a passionate fan base that kept growing in size and intensity until they exploded in popularity in the early 90s. Genesis established itself as a highly inventive artistic and progressive rock band before transitioning to FM superstardom.

In fact, these days, many “indie” acts are actually mainstream and do all sorts of things that bands like Fugazi and artists like Neil Young would have considered “selling out.” Allowing your music to be used in commercials, TV shows and movies? Check. Praising pop stars and being influenced by their hit songs? Check. Working with hit-making producers and songwriters? Check and check.

Yet when indie queen Liz Phair did all those things in 2003, she provoked a furious, almost personal backlash that tanked her career. Maybe she was simply a few years too early. Or maybe she was never going to succeed because the same factors that led to her rise helped keep her down.

Or maybe it was because her self-titled 2003 album wasn’t as good as it could have been.

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Album Review: “Unplugged 1991/2001: The Complete Sessions” by R.E.M.

In 1991, R.E.M. chose the MTV “Unplugged” stage for its coming out party. Recorded at Chelsea Studios in New York City, the band was just about to hit it big. “Out of Time” was one month old, and “Losing My Religion” was beginning its steady climb up the charts. Despite riding the wave of their biggest hit ever and their most successful album to date, R.E.M. chose not to tour. Instead, the “Unplugged” show became one of only a few concerts the band performed to promote “Out of Time.”

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Album Review: “Green” (25th Anniversary Re-Release) by R.E.M.

I’ve always loved R.E.M. For many years, they were my favorite band of all time. When the band broke up in September 2011, I was heartbroken. Even though I hadn’t liked their last five albums, I felt like I was losing a friend. I guess that’s what happens when you spend most of your life loving a band to that extent.

That being said, I never liked Green. In fact, Green is my second least favorite of the five albums R.E.M. released off its initial Warner Bros. contract.

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