R. E. M.

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Peter Buck y U2

 

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Hasta que por fin se puede escuchar Hallelujah, una de las canciones nuevas de R.E.M. que forma parte de "Part Lies, Part Heart, Part Truth, Part Garbage", apoteosico tema con excelentes arreglos de cuerda, el inicio me recuerda un poco al de Houston pero inmediatemente la cancion va tomando forma
[ame=http://www.youtube.com/watch?v=otAqA2gPsOg]R.E.M. - Hallelujah - YouTube[/ame]

 

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Disco 1

1. Gardening At Night 3:29
2. Radio Free Europe 4:04
3. Talk About The Passion 3:20
4. Sitting Still 3:17
5. So Central Rain 3:14
6. (Don't Go Back To) Rockville 4:32
7. Driver 8 3:24
8. Life And How To Live It 4:07
9. Begin The Begin 3:28
10. Fall On Me 2:51
11. Finest Worksong 3:49
12. It's The End Of The World As We Know It (And I Feel Fine) 4:07
13. The One I Love 3:17
14. Stand 3:11
15. Pop Song 89 3:05
16. Get Up 2:39
17. Orange Crush 3:53
18. Losing My Religion 4:28
19. Country Feedback 4:08
20. Shiny Happy People 3:46
21. The Widewinder Sleeps Tonite 4:07

Disco 2

1. Everybody Hurts 5:18
2. Man On The Moon 5:12
3. Nightswimming 4:16
4. What's The Frequency, Kenneth? 4:01
5. New Test Leper 5:24
6. Electrolite 4:05
7. At My Most Beautiful 3:33
8. The Great Beyond 5:05
9. Imitation Of Life 3:57
10. Bad Day 4:05
11. Leaving New York 4:49
12. Living Well Is The Best Revenge 3:12
13. Supernatural Superseious 3:24
14. berlin 4:14
15. Oh My Heart 3:20
16. Alligator_Aviator_Autopilot_Antimatter 2:44
17. A Month Of Saturdays 1:40
18. We All Go back To Where We Belong 3:35
19. Hallelujah 3:41

DESCARGA

 

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A Month Of Saturdays, otra de las nuevas canciones, sigue la misma linea de otros temas como 'That Someone Is You' o 'Crazy'... sin dudas que esas reminiscencias a las primeras canciones de la etapa previa al Chronic Town siempre se caracterizaron por ser ligeras pero sumamente efectivas
[ame=http://www.youtube.com/watch?v=WVB2IXzLwL8]REM-A month of Saturdays - YouTube[/ame]

 

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R.E.M. y U2

 

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Interesante entrevista a Mike Mills publicada recientemente:

For 31 years, Mike Mills was R.E.M.’s distinctively bookish-looking bass player. His apperance has changed over the years—he grew his hair long and started wearing Nudie suits as R.E.M. became one of rock’s biggest groups—but he was always an integral part of the band’s sound, adding high haromony vocals to Michael Stipe’s iconic murmurs and filling out the arrangments with chamber-pop orchestrations. R.E.M.’s career suffered after its popularity peaked in the early ’90s, but with this year’s Collapse Into Now, many fans believed the band sealed a comeback that began with 2008’s Accelerate. In spite of clues embedded in the album’s lyrics—from “All The Best”: “It’s just like me to overstay my welcome”—few suspected that, behind the scenes, Mills, Stipe, and guitarist Peter Buck had secretly decided to pack it in rather than re-up their record contract with Warner Bros. R.E.M. finally announced its breakup in September, and in recent interviews, the band members have firmly re-iterated that this isn’t a prelude to a reunion tour or another comeback record. R.E.M. is finished, and its members are moving on.
Before that, though, there’s a new R.E.M. greatest-hits album to promote: Part Lies Part Heart Part Truth Part Garbage 1982-2011. The two-disc set covers 40 R.E.M. songs, including three new tracks, though fans will inevitably find essentials missing. (No “Perfect Circle”? No “Pretty Persuasion”? No “Near Wild Heaven”?) Mills recently talked about the compilation with The A.V. Club, as well as the reasons behind R.E.M.’s split and what songs he’d like to survive the nuclear apocalypse.

The A.V. Club: It’s been two months since the breakup announcement, and the band has been very clear about saying, “This is it, we’re finished.” A lot of times when bands break up, they don’t make an announcement, or they say they’re going on hiatus. Why was it important for R.E.M. to say unequivocally that this breakup is permanent?

Mike Mills: Because if you don’t, it just seems very manipulative. It’s like you’d be building hopes and expectations for the next record you’re secretly planning to do, or for the next tour that you’re secretly planning to do, and we’re just trying to be straight-up and honest about it and say that we are actually finished, and we have no plans to ever tour again as a group.

AVC: Don’t you think there’s a possibility that in, say, a year or two, you’ll wake up one morning and want to make another R.E.M. record?

MM: I doubt it. I mean, I could get hit by a bus tomorrow, but I don’t see that happening. We put a lot of thought into this, and we realized that we’ve accomplished pretty much everything we could hope to accomplish. We’re going out on a high note—I think we just made two of our best records, and we’re going to walk away on our own terms as friends, with no negativity involved. It just seems like the right thing to do.

AVC: You’ve said that the band talked about breaking up going as far back as 2008, when you were touring for Accelerate. What prompted those initial discussions?

MM: We knew we had some decisions to make regarding our contract with Warner Bros. We had to make some decision about how to continue going forward as a recording unit, and if we still wanted to tour together. Oddly enough, I think that independently, we all arrived at the conclusion that this was such a great opportunity to walk away on our own terms, that we thought, “Why not take advantage of it?”

AVC: You’ve talked about the friendship at the core of this band. Has being in R.E.M. ever put a strain on that friendship?

MM: Considering that, without the band, we wouldn’t have a relationship, the 0nly way to answer that is to say “Of course, in any relationship, there are ups and downs.” Being in the band itself hasn’t put a strain in the relationship, because there wouldn’t have been one otherwise. So what happens is, as with any marriage or family you have, you’re going to have to down years, but being the stubborn guys that we are, we just waded through those and got back to higher ground.

AVC: Did you know while you were making that Collapse Into Now that it was going to be your last record?

MM: Yeah, we were pretty sure about that. There are hints on the record in some of the lyrics. The cover is the first one all three of us have ever been on, so we were playing with that a little bit. Because we pretty much decided the time we were well into that record that it would be it.

AVC: Now, it seems obvious—Stipe is even waving goodbye on the cover—but were you surprised when people didn’t pick up on that when the record came out?

MM: Yeah, actually. I was a little surprised that there wasn’t a little more speculation about that, but I think that the thing is, it would never occur to anybody that a band would break up voluntarily. Usually it’s some outside force or some negative event or traumatic happening that causes a band to break up. Who would expect a band to walk away when they’re hitting creative heights? But that’s just what we decided to do.

AVC: What was it like making Collapse Into Now and recording the new songs for the greatest-hits record, knowing they were the last R.E.M. sessions?

MM: We tried to enjoy it as much as possible and make it as fun as possible, but we’re not super-sentimental people in that sense. The 0nly time we got really poignant was when we were working in Berlin, and they have a beautiful room there, Meister Halle, where we recorded seven or eight songs. There was no one there really except some friends, family, and significant others, and we knew that was probably the last time we would ever play together as R.E.M. That was a pretty fraught day. [Laughs.] But it was fun. The atmosphere was almost totally positive, because we are walking away on our own terms after accomplishing all that we wanted, and we’re all very excited about the future, and we’re all still friends. We can all still have dinners and bottles of wine together. There’s really very little that’s negative about this.

AVC: When the breakup announcement came in September, there was a big public outpouring of love for the band. Because R.E.M was around for so long, did you ever feel that you were taken for granted?
MM: It’s not something I would have dwelt on, but of course it happens. Any time you stick around for that long, people just assume you’re going to be around forever. But I never lost any sleep over that, because people are people and they do what people do.

AVC: Did you read any of the tributes that came out after the breakup?

MM: I read a few. You know, it’s very gratifying to know that people were affected by what you did. I really enjoyed Pearl Jam doing one of the songs from Collapse Into Now—that was very cool. You want to leave a positive mark on people, and to have that shown to be true is really nice. Having said that, I didn’t sit there and read every single thing I could find about what people said, because this is a big enough deal about making it a bigger deal in my own head.

AVC: Are you still processing the breakup in your mind? It seems like you’re at peace with it, but have you fully accepted that you’re not in R.E.M. anymore?

MM: I think so. I’m very much at peace with it. Everybody feels really good about our decision. It feels like the right thing to have done. You know, that doesn’t mean I won’t have a nervous breakdown in two months. [Laughs.] But right now, I think everybody’s okay with it.

AVC: Do you foresee collaborating with the other members under a different name or set of circumstances?

MM: Oh yeah, I wouldn’t be surprised. There could be any number of things. One thing I do want to do is write songs with people, and since Peter and I have always written songs together, we might continue to do that at some point. I would not be surprised at all.

AVC: Now R.E.M. has this greatest-hits record coming out. Has this been an opportunity for you to reflect on the legacy of the band?

MM: Not so much. The overriding feeling among Peter, Michael, and myself is excitement for the future. We’re plenty young enough to have a lot of creative years left. Now we can do anything that comes to mind. I think it’s much more about looking forward than it is about looking back, surprisingly, even at this particular time. When we made the announcement, all three of us were in very different places, literally, but we all had dinners with dear friends or family or both, and I could see us three raising a glass that same night, but just not with each other, which is kind of interesting.

AVC: How involved was the band in picking the songs for this compilation?

MM: Oh, it’s totally our decision. It’s the three of us who chose them, and decided which ones went on and which ones didn’t. We were really excited to have three new ones that we really liked that we could put on that to us kind of show the three facets of R.E.M.: We’ve got one kind of goofy song, and one slightly harder-edged song, and then the beautiful, wistful, mid-tempo ballad.

AVC: Was the idea to sum up the band on one album?

MM: One way of looking at it was, if some 12-year-old kid had heard of R.E.M. but didn’t really know anything about it, and wanted to have a nice overview of what the band was, from basically the beginning up until this year, you would have it right there. Or if the Martians landed after the nuclear holocaust, and the 0nly thing they could find was this two-CD set of R.E.M., they’d understand what we were about.

AVC: Are there songs that you would have liked to include that didn’t make it?

MM: You know, the 0nly one I kind of miss is “Find The River,” because it’s such a beautiful song. But there are four songs from [Automatic For The People] on there already. We really wanted the song, but there are time limitations, even on CDs. Something had to go, and that was just one.

AVC: Going back to that nuclear-holocaust scenario, if you were 0nly going to leave behind one proper R.E.M. album, which album would that be?

MM: [Laughs.] Well, you know, there are certainly some obvious ones that people would think. But I say leave Reveal out there and have people find that, because I think that’s a very underrated record.

AVC: Judging from the liner notes, it appears the band has made peace with “Shiny Happy People.”

MM: You know, we never had a problem with that song. We always thought it was fun to write a happy song. Nobody writes super-happy music, so we decided to do that. The 0nly thing we didn’t like about that song was that we didn’t want that to be our legacy song. We didn’t want it to be the one that people think about when they think about R.E.M. It’s a great song, and I’m proud of it, but it wasn’t fun to play live, because we didn’t have Kate Pierson out with us. So there was really not much point in doing it.

AVC: The two songs that are probably most identified with you personally are “(Don’t Go Back To) Rockville” and “Nightswimming.” Do those songs hold a special place in your heart?

MM: Oh yeah, of course they do. “Rockville” is written about a real person, although the situation was certainly not fully true to life. And “Nightswimming” is a beautiful piece of piano music that Michael was inspired to write some incredibly beautiful lyrics to. I’ve done some fun things with “Nightswimming.” My friend Robert McDuffie is a violinist who has established a music school at Mercer University in Macon, Georgia, a school for strings, and I went down and performed. He had a friend arrange it for a string quartet, and he plays the vocal melody on his violin. We went down and presented that as part of a classical program, and that was pretty thrilling right there.

AVC: “Nightswimming” is a great example of how the members of R.E.M. collaborated, with you writing the piano part and Stipe those evocative lyrics.

MM: Well, that’s the essence of the band. That’s one reason Peter, Michael, and I stuck it out all of these years in difficult times, because we knew the best work we would ever do as musicians is the work we do within R.E.M. I mean, we all do great things alone, but our life’s work was this band, and the way the band works is the collaboration between the four and then the three of us, and that’s something we enjoyed and respected.

AVC: What won’t you miss about being in R.E.M.?

MM: I always hated doing videos, but I haven’t been in an R.E.M. video in years. Peter and I told Michael, “Go and make any video you like, just don’t make us be in it.” So that’s the 0nly thing I really didn’t like. I don’t mind doing interviews. I don’t love having my picture taken, but that’s not going to be a problem now.

AVC: Over the course of R.E.M.’s career, the music industry has changed dramatically. Do you think it’s still possible for a band to have the same kind of impact that you guys had?

MM: If I can say this without sounding like an egotist, I doubt it, because the Internet dilutes music so much. You don’t have a giant record company pushing a band. You don’t have the limited radio stations that people can listen to. People have so many more places to go find their music and go listen to their music that I think it becomes what they call the long tail. I think there are going to be a whole lot of bands with successful but smaller careers, which is great. I think the Internet has totally broken down the walls between the bands and their fans. I think in a way, that will make it easier for bands to have careers. I just don’t think it will be easy to be really big like U2 or we have been over the years.

AVC: R.E.M. has always been supportive of new and emerging artists. Are there new bands you’re excited about?

MM: Well, you know, Athens is full of them still. Wavves are great. I just heard a song by a band called Real Estate that I really liked.

AVC: Real Estate has been compared to your band a lot.

MM: Oh, well there you go. [Laughs.] I 0nly heard the one song. I bought the record, but I haven’t had a chance to listen to it yet. The Low Anthem is doing some pretty cool things out there. I think it’s a good time for music.

AVC: Looking to the future, do you have any specific plans in place, music-wise?

MM: I’m looking forward to writing with a bunch of different people whose music I admire. I could see doing a solo record, although there are no concrete plans for that. The 0nly thing that is planned is my friend Chris Stamey, who is in a band called The dB’s, is a Big Star fan, as are many musicians I know, and he has a project we have performed two or three times already, where a bunch of musicians get together and perform Big Star’s Third record. We’ve got a couple of shows in Europe planned for next year already, and I’m very excited about those.

 

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Tal como se ha podido deducir en otras entrevistas, esta vez Stipe ha sido claro: no hará carrera como solista

El ex integrante de la legendaria agrupación R.E.M. Michael Stipe, confirmó que no tiene intención de empezar una carrera musical en solitario, después de la disolución de su banda.

Tras esta afirmación, al parecer no se ven intenciones por parte de ninguno de sus exintegrantes de regresar a los escenarios, y mucho menos de un reencuentro como se había afirmado anteriormente.

Michael Stipe presentó en la revista Rolling Stone una compilación de R.E.M. y bromeó sobre la situación: “Este es mi último día de trabajo”, afirmó.
Fue de este modo como uno de los periodistas de la revista le pregunto si habría un disco en solitario de Michael Stipe, a lo que el cantante respondió:
“¿Quién ha dicho que tenga que ser un cantautor? Estoy en un momento de mi vida en el que no sé qué me deparará el futuro. Es incierto grabar un disco como solista ahora. ¿A qué sonaría, a R.E.M diluido?”.

Es evidente que ahora, las prioridades del artista son otras, tales como la escultura o la preparación de un documental de Internet, sus ocupaciones principales de hoy en día.

Cuando se le preguntó al cantante cómo hace para cambiar los escenarios por la tarea de esculpir figuras, él comentó: “Había estado bajo contrato desde que tenía 22 años. Había estado en un grupo desde que tenía 19. Después de anunciar la separación, sentí algo profundo por primera vez: libertad. De repente, era alguien libre. Mike y yo nos vimos dos noches después y me dijo suspirando “esto ha sido algo liberador”. Y entonces me di cuenta de que sentíamos lo mismo".

Es evidente que estos músicos necesitaban un descanso y por ahora no tendremos más R.E.M.

 

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Interesante reseña del último recopilatorio

EL ÚLTIMO BAILE DE R.E.M.
Los de Georgia recopilan sus joyas musicales en un doble CD con el que se despiden de sus innumerables seguidores

El pasado 21 de septiembre R.E.M. pillaba a sus incondicionales por sorpresa. Aunque ya se había especulado con que el grupo podría estar atravesando su última etapa, ese día la banda de Athens (Georgia, Estados Unidos) anunciaba oficialmente su disolución a través de un comunicado en el que sus componentes daban las gracias a su seguidores por el apoyo prestado a lo largo de sus tres décadas sobre los escenarios. Era el punto final a una de las trayectorias más sobresalientes dentro del firmamento musical, el adiós de una de las bandas más influyentes dentro del rock desde que a comienzos de los años ochenta irrumpiesen con temas tan poderosos como 'Radio Free Europe', 'Sitting still' o 'So. Central Rain (I'm Sorry)'.

La disolución de R.E.M. se produjo de un modo poco habitual. En un negocio acostumbrado a ver cómo sus puntales se desmoronan a causa de las disensiones internas, los estragos de las drogas y el alcohol o la lucha de egos, Michael Stipe (cantante), Mike Mills (bajista) y Peter Buck (guitarrista) tomaron la decisión después de haberla meditado concienzudamente, sin presiones externas, conscientes de que había llegado el momento de separarse. Sabían que ya habían ofrecido todo aquello que un día soñaron. A partir de ese momento, lo único que podían hacer era imitar a otros grupos que se empeñan en alargar su vida de un modo artificial, repitiendo viejas fórmulas, transformándose en una caricatura de lo que en un día fueron. Nada más lejos de la intención de este trío que convertirse en viejos dinosaurios sobre los escenarios. Por ello no es extraño que casi dos meses después de aquel anuncio, sientan una enorme liberación.

No obstante, R.E.M. no podía irse sin más. Antes debían honrar a unos seguidores que jamás osaron dejarles solos sobre los escenarios, que se lanzaron a las tiendas cada vez que sacaban uno de sus trabajos, ávidos de devorar las pulidas canciones del cuarteto que se convirtió en trío después de que uno de sus integrantes, el batería Bill Berry, se desmoronase mientras la banda actuaba en Lausana (Suiza) en 1995 a causa de un aneurisma cerebral.

Historia con mayúsculas

Por eso, inmediatamente después de informar de su adiós, R.E.M. anunciaba que a mediados de noviembre vería la luz un doble CD que recopilaría sus grandes éxitos, esos temas que forman parte ya de la historia con mayúsculas del rock y que posibilitaron que el grupo vendiese más de 85 millones de copias de sus quince álbumes de estudio.

'R.E.M., Part Lies, Part Heart, Part Truth, Part Garbage, 1982 - 2011' es el resultado de una carrera irrepetible, plagada de altibajos, con sonoros triunfos y alguna que otra decepción, pero de la que vista en su conjunto, no pueden sino vanagloriarse sus artífices. Un total de 40 temas extraídos de los quince discos publicados por la banda a lo largo de sus tres décadas de existencia: 'Murmur' (1983), 'Reckoning' (1984), 'Fables of the Reconstruction' (1985), 'Lifes Rich Pageant' (1986), 'Document' (1987), 'Green' (1988), 'Out of Time' (1991), 'Automatic For The People' (1992), 'Monster' (1994), 'New Adventures in Hi-Fi' (1996), 'Up' (1998), 'Reveal' (2001), 'Around the Sun' (2004), 'Accelerate' (2008), y 'Collapse Into Now' (2011).

Seleccionar los temas que habían de integrar este 'testamento musical' ha sido "un infierno de viaje", según lo ha descrito Mike Mills. Lógico, si tenemos en cuenta la dificultad que representa escoger entre tanta joya. La criba final permitió agrupar un conjunto de canciones que, como ha recalcado Mills, "dibujan una línea natural" a través de los 31 años de andadura de R.E.M.

Orden cronológico

'Gardening at night', extraída de 'Chronic town', el EP que los de Georgia grabaron en 1982, sirve para abrir este recopilatorio que, siguiendo un orden cronológico, continúa con 'Radio Free Europe', un single grabado en el verano de 1981 y que les abrió las puertas de la industria, permitiéndoles firmar un contrato con I.R.S. Records, el sello que editó sus primeros cinco trabajos, comenzando por 'Murmur', disco que también está representado aquí por 'Talk about the passion' y 'Sitting still'. De 'Reckoning' se extraen 'So. Central Rain (I'm sorry)' y '(Don't go back to) Rockville', tema este último escrito por Mike Mills para su novia de entonces y que tiene un acentuado espíritu country.

Completan el primer CD de 'R.E.M., Part Lies, Part Heart, Part Truth, Part Garbage, 1982 - 2011' auténticas perlas como 'It's The End Of The World As We Know It (And I Feel Fine)', una apocalíptica melodía que formaba parte de 'Document' y que se convirtió en uno de los éxitos más notables de R.E.M.; 'The One I Love', perteneciente al mismo disco que la anterior y que alcanzó el 'top ten' en las listas de ventas de Estados Unidos; o 'Losing my religion', el primer sencillo del aclamado y multipremiado 'Out of Time' y cuyo videoclip, dirigido por Tarsem Singh, fue vilipendiado por la Iglesia católica, algo que, como no podía ser de otra forma, incrementó su repercusión.

El nivel no declina en el segundo CD. 'The Sidewinder Sleeps Tonite', 'Everybody Hurts', 'Man On The Moon' y 'Nightswimming' dan cuenta del maravilloso 'Automatic For The People', probablemente el mejor álbum de cuantos ha alumbrado R.E.M. y que en su día provocó encendidos elogios de artistas tan reputados como Bono.

'Electrolite' y 'New Test Leper' representan la contribución de 'New Adventures in Hi-Fi', el último disco que contó con la participación de Bill Berry. Ya sin este, grabarían trabajos como 'Up', del que en el recopilatorio se incluye 'At My Most Beautiful'; 'Reveal', con 'Imitation of Life' como tema más destacado; o 'Around the Sun', con esa carta de amor a la Gran Manzana que es 'Leaving New York'. De sus dos últimos discos, el crítico 'Accelerate' y el más pausado 'Collapse into now', R.E.M. rescata canciones como 'Living Well Is The Best Revenge', 'Supernatural Superserious', 'ÜBerlin', 'Oh My Heart' o 'Alligator Aviador Autopilot Antimatte'.

Y como ocurre en las mejores fiestas, el gran regalo viene al final. Se trata de tres canciones inéditas que Stipe, Mills y Buck grabaron este verano en Athens bajo los dictados del productor Jacknife Lee, el mismo que tuteló sus dos últimos álbumes. 'A Month of Saturdays', 'We All Go Back To We Belong' y 'Hallelujah' son el verdadero mensaje de despedida de esta banda irrepetible que ha optado por retirarse cuando todavía estaba en lo más alto, salvaguardando una amistad que permite soñar con un futuro reencuentro. Un nuevo ejemplo de sabiduría en una industria que no anda sobrada de ella.

 

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Una de las ultiamas apariciones en TV, Michael Stipe y Brian Eno cantando con el presentador un tal Stephen Colbert aqui el audio

[ame=http://www.youtube.com/watch?v=mC5rihPXNiY&feature=related]Colbert Show: Lean On Me - YouTube[/ame]

Y aqui el video http://www.colbertnation.com/the-co...ichael-stipe---stephen-colbert----lean-on-me-

 

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Este fue un video subido en su momento por el canal oficial de R.E.M. en Youtube, es precisamente la ultima fecha del Accelerate Tour en el Auditorio Nacional de la ciudad de Mexico, recordando que unos dias antes habia pasado por Lima, aqui los bises de esta ultima presentacion:

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Peter Buck, guitarrista de REM, prepara su primer álbum en solitario

Tras 31 años en la misma formación, el guitarrista parece decidido a seguir con el oficio que mejor se le da, al margen de lo que decidan sus antiguos compañeros. Un amigo del músico ha confirmado que se halla trabajando en su primer disco en solitario, del que todavía se conocen muy pocos detalles.


Scott McCaughey, compañero de Peter Buck en la banda Minus 5 ha revelado durante una entrevista en una radio de Seattle que el guitarrista de REM está trabajando en su primer álbum en solitario.


McCaughey, que colabora en el disco de Buck, ha asegurado que el material en el que trabaja el guitarrista "se sale" y ha sugerido que quizá incluso se anime a cantar, algo que no ha hecho en los 31 años de carrera con REM.


Aunque duda que Peter Buck se lance a cantar en los directos, McCaughey se aventura a adelantar que el álbum podría ver la luz únicamente en formato vinilo y, en ningún caso, en formato digital para su descarga. En caso de salir adelante, el álbum de Peter Buck será el primero que un miembro de REM publique por su cuenta después de que la banda anunciara su separación tras más de 30 años de carrera juntos.


Y parece que, de momento, es el único que se anima a seguir adelante con la música, pues como ya dijo el bajista Michael Mills, el cantante, Michael Stipe dificilmente podría animarse a trabajar en solitario:
"Creo que quiere centrarse en las artes visuales. Imagino que hará mucha escultura y fotografía. Creo que ahora son sus mayores intereses", afirmó el bajista que, por su parte, tampoco ha revelado a qué dedicará su tiempo tras el fin de REM.


Vaya novedad que viene preparando el gran Peter Buck, de hecho durante la ultima etapa de REM el era quien seguia tirando del carro, manteniendose activo colaborando en diferentes bandas... sera toda una sorpresa poder escucharlo cantar

 

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A proposito de Peter Buck, aqui una de sus mas recientes apariciones tan solo hace unos dias (16 de marzo)... colaborando con The Posies y un tal Jody Stephens

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[p.l.u.c.k]

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Realmente una joya de cancion​

 

[p.l.u.c.k]

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[p.l.u.c.k]

Y tal como lo habia comentado hace unos meses, el trabajo en solitario de Peter Buck ya esta listo y justamente aqui un adelanto:

Peter Buck - 10 Million BC by chartstonge on SoundCloud - Create, record and share your sounds for free

Bastante en la onda rockera al fiel estilo que siempre ha seguido Peter...

Aqui algunos comentarios por parte de Bertis Downs en Remhq:

POSTCARD FROM ATHENS

I just returned from a trip to New York and London, always two of my favorite places and essential to the history of R.E.M. In New York I saw Peter and he filled me in on his recently-recorded solo record, about which details will soon be forthcoming--very exciting stuff. I also saw Michael and caught up on some of his artistic activities--some pretty fascinating stuff on his Tumblr page and michaelstipe.com. Then I went to London where Mike was playing in the fourth iteration (following Chapel Hill, New York and Austin) of the Big Star THIRD album recreation, joining core participants Chris Stamey, Jody Stephens and Mitch Easter as well as a cast of Chapel Hill's young brilliances, and for the London show at the fabulous Barbican Arts Centre, Ken Stringfellow and John Auer of the Posies and latter-period Big Star itself, along with Norman Blake, Robyn Hitchcock, and many other bright British stars as well as a string section conducted by the formidable Terry Edwards, who occasionally played some saxaphone from his conductor's perch. It was another very special night of that great almost 40 year old music and the largest crowd yet for the aggregation-- a lot of joyful music being made for the sheer love of music. This Big Star thing goes from strength to strength, speaking of which they have moved on to Barcelona for the Primavera Festival tonight.

People ask me somewhat joshingly "how's retirement suiting you?" After a week like this, just fine thank you.

 

[p.l.u.c.k]

Temazo del magnifico disco debut Murmur

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[p.l.u.c.k]

Uno de los mas celebres conciertos para los conocedores de R.E.M : Reconstruction Tour (1985) en Rockpalast (Berlin)... durante "We Walk" Stipe cantando con el publico y sobandole la pelada al tio de barba xD

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[YngwieMalmsteen]

Estas son las 10 canciones más tristes de todos los tiempos | El Comercio Perú, y "Everybody hurts" fue elegida la canción más triste, realmente demasiado cercano a la realidad.

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[p.l.u.c.k]

Y lo mas reciente, el ultimo trabajo de Peter Buck ha visto la luz este mes:

1) 10 Million BC

2) I’m Alright

3) Some Kind Of Velvet Sunday Morning

4) Travel Without Arriving

5) Migraine

6) Gimme Back My Wig

7) Nothing Matters Anymore

8) So Long Johnny

9) Little Village, Motherf…ker (LVMF)

10) Nothing Means Nothing

11) Hard Old World

12) Nowhere No Way

13) Vaso Loco

14) I’m Alive

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Not quite a year after R.E.M. split, guitarist Peter Buck, a great sideman who had intimated that he'd never become a frontman, is unexpectedly first out of the gate with a self-titled solo debut. It's a curious thing: a vinyl-0nly release on Portland's Mississippi Records, which specializes in old blues and folk reissues. Limited to 2,000 copies, the album is sold exclusively through independent record stores and online retailers, although there are rumors of a digital release sometime in the future. Since it was announced earlier this year, we've had months to wonder what a Peter Buck solo album would sound like, but we've had 30 years to wonder what his singing voice sounds like: Seemingly content to stand off to the side while Michael Stipe and Mike Mills vocalize, Buck has let his guitar do the talking, and it's always had a large vocabulary and perfect elocution.

But how does he sound when he steps up to the mic? Low and gravelly and slightly narcotized, like he's calling in ransom demands. While nowhere near as agile or as commanding as his guitar, his voice proves unpredictable, as the growl grows trippy on "Travel Without Arriving" and as he barks out a string of expletives on the nightmare-exotica number "It's Alright". His final words on that song-- "I tell you what, if that ain't music, nothin' is"-- form a strangely effective punchline, not to mention the closest thing this record has to a Big Statement. Anything can be musical, even Buck's odd, slightly unwieldy voice.
In fact, that instrument is perfect for the loose, lively, low-key vibe of this record. Peter Buckis Peter Buck testing the solo waters. That impression stems no doubt from his approach: Laid up in bed earlier in the year with a severe back injury, Buck found himself unable to play guitar, so he tried his hand at writing lyrics to pass the time. Vertical once more, he invited a bunch of friends into the studio to flesh out his songs, most notably Minus 5 frontman Scott McCaughey and Steve Wynn. They update some old blues tunes, even sampling Sonny Boy Williamson's infamously profane intro to "Little Village" for "L.V.M.F." A few wouldn't be out of place on a Minus 5 record, and others indulge some truly weird-ass studio hijinks. Not all of them work, but those that do possess a perverse pleasure. Opener "10 Million BC" sounds like someone drinking cough syrup and playing Stoneage Romeos on the wrong speed. "Some Kind of Velvet Sunday Morning", as its title suggests, is an attempt at a drowsy Hazlewoodsy epic, with Buck playing a strong Lee to Annalisa Tornfelt and Chloe Johnson's Nancy Sinatra.

Freed from the demands of notching a radio hit or selling however many units, Buck can simply chase one whim after another, with its surf rock or 60s bubblegum pop, R&B, or C&W. Perhaps that devil-may-care spirit is geographic in nature: The 0nly other Georgian on the album is Mike Mills; everyone else is a Pacific Northwesterner, including Corin Tucker and Decemberist Jenny Conlee. It's Tucker who gets the best and most straight-faced song on the album, the defiantly despairing "Nothing Means Nothing", which may be the most personal and revealing song here.

Buck's obviously more comfortable as the sideman, but after decades spent backing Stipe, the task of accompanying a different set of pipes has obviously made him reconsider how he plays. In fact, this is the loosest, wildest, and most unguarded any member of R.E.M. has sounded in ages, maybe even since Hindu Love Gods or even Dead Letter Office. Like those two releases, Peter Buck is likely a fans-0nly effort, but one that showcases a low-stakes spontaneity and a renewed sense of possibility. Inauspicious by design, this debut is ultimately a minor contribution to the R.E.M. canon, but therein lies its chief appeal.