The Number One Album In The UK on the 21st May, 2001 was from R.E.M. with their twelfth album Reveal.
Produced by the band with Patrick McCarthy – whose credits include U2, Counting Crows and The Waterboys; McCarthy would ultimately work with R.E.M. across a number of their album projects in addition to Reveal, including Up, Around the Sun & the soundtrack for Man on the Moon
The Reveal album was recorded in a number of sessions throughout 2000 at locations such as Vancouver in Canada, Dalkey in Ireland & the band’s original hometown Athens, Georgia in the States [production details below].
At times fragile and others intensely beautiful, Reveal has many layers of depth, with the songwriting prowess of Peter Buck, Mike Mills and Michael Stipe at this 20-year juncture of their career something to be absolutely cherished.
“It’s been twenty years since R.E.M. released their debut single, “Radio Free Europe,” declaring their independence from the rock cliches of 1981 with a few self-evident truths: guitars, drums, hair, soulful moaning, spasmodic melody, raw emotion, pretensions and sexy mumbles nobody has deciphered to this day. Jesus, it sounded good. They were the archetypal American band of the Eighties, but it wasn’t till the Nineties that they grew up and hit the roll of their lives: In a mere six years, they gave us four classics, in Out of Time (love vs. war), Automatic for the People (love vs. death), Monster (love = guitars) and New Adventures in Hi-Fi (guitars = sex). But the past few years have been rough on R.E.M. and their fans, especially with the departure of drummer Bill Berry. So it’s inspiring to hear Michael Stipe, Peter Buck and Mike Mills brighten up on Reveal, telling a few fables of their own reconstruction with an album of gorgeous, woozily sun-struck ballads. Reveal won’t need to grow on you – thirty seconds into the opener, “The Lifting,” you can tell these guys got lucky with the muse again. Like U2’s All That You Can’t Leave Behind, it’s a spiritual renewal rooted in a musical one” –Rob Sheffield, **** – Rolling Stone, 1 May 2001
“All the defining REM characteristics are in place. The effortless grasp of melody, the vertiginous emotion, the comforting appreciation of beauty and the preservation of sanity in a world which hurts and confuses at every turn. The characters that populate the songs are all questing – a travelling businessman soul-searches in woozily spectral opener ‘The Lifting’, a failed entertainer travels to Nevada in the jangly ‘All The Way To Reno’, a drifting woman realises “now is greater than the whole of the past” in ‘She Just Wants To Be’. Like Stipe, they are taking a look around, evaluating, and switching on the optimism” – April Long, 7/10 – NME
The Lifting – 4:39
I’ve Been High – 3:25
All the Way to Reno (You’re Gonna Be a Star) – 4:43
She Just Wants to Be – 5:22
Disappear” – 4:11
Saturn Return” – 4:55
Beat a Drum – 4:21
Imitation of Life – 3:57
Summer Turns to High – 3:31
Chorus and the Ring – 4:31
I’ll Take the Rain – 5:51
Beachball – 4:14
All songs Buck, Mills, Stipe
All songs 2001 Temporary Music (BMI)
Temporary Music administered in this and all worlds, inclusive, by Warner-Tamerlane Publishing Corp.
Scott McCaughey appears courtesy of Mammoth Records, Inc.
Produced by Pat McCarthy & R.E.M.
Recorded & Mixed by Pat McCarthy & Jamie Candiloro
THE WAREHOUSE Studios, Vancouver, British Columbia
2nd Engineers: Dean Maher, Zach Blackstone, Alex Aligizakis
JOHN KEANE Studios, Athens, Georgia
Engineer: John Keane
Field Recordings on Summer Turns To High by Lou Kregel
DALKEY LODGE, Dublin, Ireland
Assistant: Mark Fitzgerald
Further Assistance: Marguerite Ryan, Mary Boylan, Bee Mangan
WINDMILL LANE Studios, Dublin, Ireland
2nd Engineers: Kieran Lynch, Dave Hughes
THE HIT FACTORY / CRITERIA Studios, Miami, Florida
2nd Engineer: Christine Tramontano
Bob Ludwig at Gateway Mastering Studios, Portland, Maine
Editing: Adam Ayan
String Arrangements – Johnny Tate & R.E.M.
Paul O Hanlon
Cliona O Driscoll
Hillary O Donovan
Fergal O Ceallachain
Horns on Beachball
Get The Horn Section