Location: Philips Arena, Atlanta, GA
Supporting Act(s): none needed
In The Company of: Joe B., Bryan D., Mark M.
There are a handful of acts that certain music lovers yearn to experience in their lifetime. The Beatles. The Rolling Stones. The Doors. The Clash. When it becomes apparent that experiencing some of these acts may not happen, it’s a bitter pill to swallow. I have never seen a Springsteen concert. I yearned to see one before it was all over. When keyboardist Danny Federici lost his long battle with cancer last week, the E Street Band’s immortality was in question. This was one, I thought, that I must see.
Bruce began the show with a tribute to Federici. The lights stayed off while a slideshow of forty years of photos flashed on the big screens. Accompanied only by his harmonica, Bruce performed “Reason To Believe” (“…In a whitewash shotgun shack an old man passes away / take his body to the graveyard and over him they pray / Lord won't you tell us tell us what does it mean / Still at the end of every hard earned day people find some reason to believe”).
The E Street Band then joined Bruce for a rollicking “Out In The Street.” The band sounded tight and played like, well, like they’ve been together for a lifetime. Nils Lofgren on guitar sounded incredible. His guitar solo would make Eddie Van Halen sit up and take notice. The Mighty Max Weinberg, on hiatus as musical director and resident drummer on Late Night with Conan O’Brien, was the workhorse of the band. A virtual machine and a man possessed. Incredible. Steven Van Zandt, a.k.a. Little Steven, a.k.a. Miami Steve was all over the place, singing exceptional harmony with Bruce and playing great guitar. Most recently, Van Zandt wrapped up eight seasons playing mobster Silvio Dante on HBO’s “The Sopranos.” And of course, The Big Man Clarence Clemens, dressed in all black – hat and all – sounded as fresh and exciting as he did the very first time I heard him on a record. Anytime his name was mentioned or he played that sax, the sold-out crowd showed him its love in a loud way. While he’s moving a bit slower these days, he definitely did his part. Springsteen has recorded and toured with and without the E Street Band. But with them, everything is richer. They complete him.
The third song out of the gate was the catchy and rocking “Radio Nowhere” (“This is radio nowhere / is there anybody alive out there?”) from last year’s “Magic.” This latest release has been a commercial as well as a critical hit for The Boss. An argument could be made that this song refers to America’s faltering role in the war in Iraq. It would make sense since Bruce is an outspoken critic of the current U.S. involvement there. Later in the show, we heard further evidence supporting this idea, “The Last To Die” (“Who'll be the last to die for a mistake…Whose blood will spill, whose heart will break”). Another “statement” song was “Livin’ In The Future” which seems to be dealing both with global warming and our current political plight (“The earth it gave away / The sea rose toward the sun / I opened up my heart to you it got all damaged and undone / My ship Liberty sailed away on a bloody red horizon / The groundskeeper opened the gates and let the wild dogs run”). As I drove away later that night, I half expected to see a bumper sticker or two reading, “I’m A Springsteen Fan And I Vote.”
I was happy when the song that I craved to hear, “Blinded By The Light,” was played early on and for the first time on this tour. As those old enough to remember must know, Manfred Mann’s Earth Band covered this song in 1977 earning them a number one hit. But Bruce wrote this one. It was the first song – and first single – on his debut album, “Greetings From Asbury Park, N.J.” which hit record stores on January 5, 1973. The 45 of this song was the first record I ever purchased. I was thirteen years old and had discovered Rock and Roll.
Another standout was “Trapped.” This is a song written by reggae god Jimmy Cliff that appears as a live track on “The Essential Bruce Springsteen” release from 2003. It was recorded during the “Born In The U.S.A” tour in 1984. Before playing “Your Own Worst Enemy,” Bruce announced, “…in honor of producer extraordinaire Brendan O’Brien…it won't be as good as the record, but we'll try.” “Magic” was recorded in O’Brien’s Atlanta Studio.
“The Rising” was a stark reminder of September 11, 2001. It is a single from 2002’s album of the same name which Bruce wrote as a touching tribute to his city in ruin and the heroes who served us that day (“Left the house this morning / Bells ringing filled the air / Wearin' the cross of my calling / On wheels of fire I come rollin' down here / Come on up for the rising / Come on up, lay your hands in mine”).
If the nineteen songs were not enough to wear out the crowd, the Boss and the Band came back out with a five-song encore for the ages. The songs were mostly culled from 1975’s “Born To Run” album. “Thunder Road,” “Born To Run,” “Rosalita,” and “Tenth Avenue Freeze-Out” blew us all away and was a snapshot of what defined authentic Springsteen. These are the songs everyone knows. The band jammed like it was back in the 70s again and the crowd frequently raised their shining cell phones in lieu of lighters. Wrapping up the evening was “American Land,” a song taken from Bruce’s recent tribute album to Pete Seeger. It seems destined to become a Springsteen staple. I know this because it was the only song that had its lyrics shown on the big screen to promote fans’ involvement. It was a foot-stompin’ Irish jig of a song that’s still kicking around in my head.
Absent were many of the big hits and pop-influenced songs from the mid- to late-eighties. Tonight was meant to showcase the new stuff and highlight the classics. Bruce appeared desirous to work for every ticket sold and every dollar spent by his loyal fans. He was relentless in his passion and enthusiasm, making the audience show theirs. The man is also in excellent physical shape, or at least it seemed so from my distant seat. I can only hope that I’ll be in such favorable condition when I’m 58-years old. If that’s the case, I’ll need to hire a personal trainer and get started. He ran, jumped, and sweat enough for all eight members of the E Street Band. It was an experience I’ll not soon forget and I look forward to their return.
Set List / Album / Year
Reason to Believe / Nebraska / 1982
Out in the Street / The River / 1980
Radio Nowhere / Magic / 2007
No Surrender / Born In The U.S.A. / 1984
Blinded By the Light / Greetings From Asbury Park, N.J. / 1973
Your Own Worst Enemy / Magic /2007
Trapped / The Essential Bruce Springsteen / 2003
Murder Incorporated / The Greatest Hits / 1995
Prove It All Night / Darkness On The Edge Of Town / 1978
She's the One / Born To Run / 1975
Livin' in the Future / Magic / 2007
The Promised Land / Darkness On The Edge Of Town / 1978
Bobby Jean / Born In The U.S.A. / 1984
Point Blank / The River / 1980
Devil's Arcade / Magic / 2007
The Rising / The Rising / 2002
Last to Die / Magic / 2007
Long Walk Home / Magic / 2007
Badlands / Darkness On The Edge Of Town / 1978
Encore
Thunder Road / Born To Run / 1975
Born to Run / Born To Run / 1975
Rosalita / The Wild, the Innocent, and the E Street Shuffle / 1973
Tenth Avenue Freeze-Out / Born To Run / 1975
American Land / We Shall Overcome: The Seeger Sessions / 2001
Monday, April 28, 2008
Monday, April 21, 2008
88. SPOON, 4/14/08
Location: Center Stage, Atlanta, GA
Supporting Act(s): The Walkmen, White Rabbits
In The Company Of: Thomas S.
There are many categories of success in the music industry. Some bands have the backing of a record label and are heavily marketed. Other bands garner a huge following of fans and ride that wave via word-of-mouth exposure to success. Spoon falls in the latter category. Formed in 1994 in Austin, Texas, vocalist/guitarist Britt Daniel along with drummer Jim Eno embarked on what would become a very long journey.
Spoon is touring in support of their 2007 release “Ga Ga Ga Ga Ga.” The band kicked off the show with “The Beast And Dragon, Adored,” from their previous album, 2005’s “Gimme Fiction.” Daniel’s crisp, almost hoarse voice was the perfect vehicle for the biting, intelligent lyrics. Besides Daniel and Eno, Spoon now consists of Eric Harvey on keyboards and Rob Pope on bass. Pope joined the band in 2006 after the breakup of his former band, Kansas City’s Get Up Kids (he even yelled, "Chiefs!" into the mic when he saw my sweatshirt). The four-piece played well together, often joking and usually smiling. The sound, like the camaraderie, was tight.
Spoon epitomizes the best things about a spontaneous band. Sure, fans want to hear a recognizable version of the songs they love, but Spoon goes further by making the live versions even better. These are excellent musicians and superior live performers. Introducing “Eddie’s Ragga,” Daniel stated that, while the band rarely jams, this song came from one.
Pinpointing the band’s influences can be difficult. Usually, Indie Rock is how Spoon is labeled (especially after their disastrous experience with Elektra Records in 1998, which forced them to begin again from scratch). They possess a truly unique sound, yet some genres do come to mind when listening. For example, Motown and Soul frequently bleed out of certain songs, and Brit Pop seems obvious. “Finer Feelings” sounds suspiciously like an old Style Council tune. Some listeners may hear some Squeeze, maybe a little Beatles. Daniel is an expert guitarist and treated the audience to many bizarre and extraordinary sounds. Along with the keyboard-tambourine-guitar prowess of Eric Harvey and the rhythm section of Eno and Pope, anything seems possible. “Small Stakes,” from the “Kill The Moonlight” album (2002), features an addictive groove and almost monotone singing, with plenty of sonic thrills throughout, all while Daniels voice echoes along.
Daniel’s tall, angular frame as well as his striking features and blond hair may make one reminiscent of a young Gary Busey. Artistically, he exhibits traits of a Nick Lowe or a Neil Finn. Whatever he reminds you of, he’s nothing if not a rousing performer. He took time after nearly every song to talk with the audience and even signed a poster of a begging fan standing in the front. The entire band seemed genuinely happy to be in Atlanta.
Other highlights included their breakthrough hit, the Jaggeresque “I Turn My Camera On,” from “Gimme Fiction” and “Stay Don’t Go” from “Moonlight.” Among the many songs featured from “Ga Ga…” were “Don’t You Evah,” “Rhthm And Soul,” “Black Like Me,” the political “Don’t Make Me A Target (possibly a jab at a fellow Texan in a high office, if you get my drift…),” “The Ghost Of You Lingers,” and their single, “The Underdog” (“You got no time for the messenger / got no regard for the thing that you don't understand / you got no fear of The Underdog / that's why you will not survive”).
Hailing from New York City (by way of Columbia, Missouri), the White Rabbits opened the show with an Indie-pop sound with hints of ska drifting in and out (if you listen closely). The Rabbits sported two drummers and members tended to switch instruments without warning. Founding members Greg Roberts on guitar and Stephen Patterson on keyboards share lead vocal duties. They are on the road supporting their first full-length record “Fort Nightly.” It was truly an energetic set, and although they were not the group most people paid to see, they kept the crowd hopping and happy.
The NYC-based band The Walkmen filled the middle slot. Lead singer Hamilton Leithauser’s powerful, nearly strained voice guaranteed that nearly every song would be filled with soul and emotion. The marching drums kept the pace hurried for most of their set. An Indie rock band with clear connections to post-punk seemed to be a crowd favorite.
Supporting Act(s): The Walkmen, White Rabbits
In The Company Of: Thomas S.
There are many categories of success in the music industry. Some bands have the backing of a record label and are heavily marketed. Other bands garner a huge following of fans and ride that wave via word-of-mouth exposure to success. Spoon falls in the latter category. Formed in 1994 in Austin, Texas, vocalist/guitarist Britt Daniel along with drummer Jim Eno embarked on what would become a very long journey.
Spoon is touring in support of their 2007 release “Ga Ga Ga Ga Ga.” The band kicked off the show with “The Beast And Dragon, Adored,” from their previous album, 2005’s “Gimme Fiction.” Daniel’s crisp, almost hoarse voice was the perfect vehicle for the biting, intelligent lyrics. Besides Daniel and Eno, Spoon now consists of Eric Harvey on keyboards and Rob Pope on bass. Pope joined the band in 2006 after the breakup of his former band, Kansas City’s Get Up Kids (he even yelled, "Chiefs!" into the mic when he saw my sweatshirt). The four-piece played well together, often joking and usually smiling. The sound, like the camaraderie, was tight.
Spoon epitomizes the best things about a spontaneous band. Sure, fans want to hear a recognizable version of the songs they love, but Spoon goes further by making the live versions even better. These are excellent musicians and superior live performers. Introducing “Eddie’s Ragga,” Daniel stated that, while the band rarely jams, this song came from one.
Pinpointing the band’s influences can be difficult. Usually, Indie Rock is how Spoon is labeled (especially after their disastrous experience with Elektra Records in 1998, which forced them to begin again from scratch). They possess a truly unique sound, yet some genres do come to mind when listening. For example, Motown and Soul frequently bleed out of certain songs, and Brit Pop seems obvious. “Finer Feelings” sounds suspiciously like an old Style Council tune. Some listeners may hear some Squeeze, maybe a little Beatles. Daniel is an expert guitarist and treated the audience to many bizarre and extraordinary sounds. Along with the keyboard-tambourine-guitar prowess of Eric Harvey and the rhythm section of Eno and Pope, anything seems possible. “Small Stakes,” from the “Kill The Moonlight” album (2002), features an addictive groove and almost monotone singing, with plenty of sonic thrills throughout, all while Daniels voice echoes along.
Daniel’s tall, angular frame as well as his striking features and blond hair may make one reminiscent of a young Gary Busey. Artistically, he exhibits traits of a Nick Lowe or a Neil Finn. Whatever he reminds you of, he’s nothing if not a rousing performer. He took time after nearly every song to talk with the audience and even signed a poster of a begging fan standing in the front. The entire band seemed genuinely happy to be in Atlanta.
Other highlights included their breakthrough hit, the Jaggeresque “I Turn My Camera On,” from “Gimme Fiction” and “Stay Don’t Go” from “Moonlight.” Among the many songs featured from “Ga Ga…” were “Don’t You Evah,” “Rhthm And Soul,” “Black Like Me,” the political “Don’t Make Me A Target (possibly a jab at a fellow Texan in a high office, if you get my drift…),” “The Ghost Of You Lingers,” and their single, “The Underdog” (“You got no time for the messenger / got no regard for the thing that you don't understand / you got no fear of The Underdog / that's why you will not survive”).
Hailing from New York City (by way of Columbia, Missouri), the White Rabbits opened the show with an Indie-pop sound with hints of ska drifting in and out (if you listen closely). The Rabbits sported two drummers and members tended to switch instruments without warning. Founding members Greg Roberts on guitar and Stephen Patterson on keyboards share lead vocal duties. They are on the road supporting their first full-length record “Fort Nightly.” It was truly an energetic set, and although they were not the group most people paid to see, they kept the crowd hopping and happy.
The NYC-based band The Walkmen filled the middle slot. Lead singer Hamilton Leithauser’s powerful, nearly strained voice guaranteed that nearly every song would be filled with soul and emotion. The marching drums kept the pace hurried for most of their set. An Indie rock band with clear connections to post-punk seemed to be a crowd favorite.
87. EXPLOSIONS IN THE SKY, 4/13/08
Location: Variety Playhouse, Atlanta, GA
Supporting Act(s): Lichens
In The Company Of: Thomas S.
When a friend calls and says, “There’s a great instrumental band playing this weekend,” it can be off-putting. Especially when you love lyrics so damn much. But, in the case of the Austin, Texas foursome Explosions In The Sky, that feeling was unfounded. Explosions has seemed to perfect the rock instrumental genre in just a few short years. For starters, at any given time, three guitarists are jamming away. All emotions seem to come out of their songs, which last an average of 8-10 minutes each (and sometimes WAY longer when played live). Most songs begin with a beautiful whisper and grow to a rock crescendo, all the while with precision results.
The band’s music was featured in the 2004 film “Friday Night Lights.” This move brought instant fame to the group. Since then, some of their songs have been used in other movies as well as commercials. A Cure-ish guitar can be heard throughout many songs, but no other comparisons may be made in that vein. Comparisons to the group Mogwai have been frequent, but Explosions has put their own mark on their music.
The bottom line is, expect a wall of noise – some distorted, some melancholy, some lithely poignant. Breaks between songs were hard to detect, as the band transitioned between them so stealthily. From the crowd’s reaction, these could all have been number one hits. Truly, Explosions In The Sky has a huge following…and rightly so.
Opening the show was Lichens a.k.a. Robert A. Lowe, based out of Chicago. Lowe began his set whistling like a bird. That’s right, he whistled, then looped it and did it again. After three or four bird-whistling loops, he began playing guitar. Soon, he began singing high-pitched, unintelligible lyrics, which were also looped. This was roughly a 24-minute song. One song. It was haunting and eerie, but extremely mesmerizing. David Lynch should love this mystical stuff.
Lowe is a talented musician and was a good fit with Explosions In The Sky. Both have raised the bar of rock instrumental music.
Supporting Act(s): Lichens
In The Company Of: Thomas S.
When a friend calls and says, “There’s a great instrumental band playing this weekend,” it can be off-putting. Especially when you love lyrics so damn much. But, in the case of the Austin, Texas foursome Explosions In The Sky, that feeling was unfounded. Explosions has seemed to perfect the rock instrumental genre in just a few short years. For starters, at any given time, three guitarists are jamming away. All emotions seem to come out of their songs, which last an average of 8-10 minutes each (and sometimes WAY longer when played live). Most songs begin with a beautiful whisper and grow to a rock crescendo, all the while with precision results.
The band’s music was featured in the 2004 film “Friday Night Lights.” This move brought instant fame to the group. Since then, some of their songs have been used in other movies as well as commercials. A Cure-ish guitar can be heard throughout many songs, but no other comparisons may be made in that vein. Comparisons to the group Mogwai have been frequent, but Explosions has put their own mark on their music.
The bottom line is, expect a wall of noise – some distorted, some melancholy, some lithely poignant. Breaks between songs were hard to detect, as the band transitioned between them so stealthily. From the crowd’s reaction, these could all have been number one hits. Truly, Explosions In The Sky has a huge following…and rightly so.
Opening the show was Lichens a.k.a. Robert A. Lowe, based out of Chicago. Lowe began his set whistling like a bird. That’s right, he whistled, then looped it and did it again. After three or four bird-whistling loops, he began playing guitar. Soon, he began singing high-pitched, unintelligible lyrics, which were also looped. This was roughly a 24-minute song. One song. It was haunting and eerie, but extremely mesmerizing. David Lynch should love this mystical stuff.
Lowe is a talented musician and was a good fit with Explosions In The Sky. Both have raised the bar of rock instrumental music.
Thursday, April 10, 2008
MUSIC REVIEW: R.E.M. "Accelerate"
2008, Warner Bros. Records
Legend has it that guitarist Peter Buck was working at Wuxtry Records in Athens, Georgia when Michael Stipe strolled in. They talked about music and bands. The rest is history. Twenty-eight years and fourteen albums later R.E.M. has become the little band that could. With the 1982 EP “Chronic Town” and 1983’s “Murmur,” the college radio indie sound was all but invented by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe. Back then, supporters could join the R.E.M. Fan Club for $10. Always the band to put its fans first, membership is still $10.
After a hugely successful decade in the eighties which carried over into the early nineties, R.E.M. seemed to turn introspective, writing more personal songs. This was their nearly rock-free experimental phase. Not all experiments are successful, however, and this move led to limited exposure and fewer sales. The loyal fan base was growing up, getting jobs, and starting families. Bands evolve, people evolve, and things change. So, it was only normal that a “band of the 80s” faded from the spotlight. In 1997, drummer Bill Berry left the band after suffering a brain aneurism during an earlier tour in Europe. It was a huge personal blow to the other members, but they carried on. Since then, they’ve struggled to maintain their stride musically. They have still made good music, just not life-changing music that appeals to the masses. That is until now. “Accelerate” was released on April 1, and is no joke. Buck, Mills, and Stipe have returned to the guitar-driven sound and created their best and most urgent work in years.
The opener, “Living Well Is The Best Revenge,” showcases R.E.M’s return to rock. This simple, driving song harkens back to their punk-inspired roots. It also makes the statement that R.E.M. have been living well, with or without big radio hits. Ex-Ministry drummer Bill Rieflin and second guitarist Scott McCaughey complete the vital and aggressive new R.E.M.
The sound of “Man-Sized Wreath” is reminiscent of the “Document” era. Along with the band as a whole, Peter Buck’s guitar power has been resurrected. New life has officially been breathed back into R.E.M.
Then follows the first single from “Accelerate,” “Supernatural Superserious.” The song begins unassumingly with an a Capella Stipe singing “Everybody here…comes from somewhere.” At which point Buck submits a sonic interjection with his weapon, and listeners hear one of the most rocking and vital songs of 2008. With first-class instrumentation, intelligent lyrics, and terrific vocals (including the ever-present backing vocals of Mills), look for this one to grab a Grammy.
Track four begins with a melancholy piano and Stipe singing, “I’ve been lost inside my head / echoes fall off me / I took the prize last night for complicatedness / for saying things I didn’t mean and don’t believe.” “Hollow Man” then soars with guitar and drums and if your foot doesn’t tap, your heart isn’t beating. Stipe sings, “Believe in me, believe in nothing…” Towards the end of the song, a familiar guitar riff brings back memories of “Pretty Persuasion” from 1984’s “Reckoning.” Other straight-ahead rockers include “Accelerate,” “Horse To Water,” and “I’m Gonna DJ.”
The serious “Houston” traces the Hurricane Katrina story and how America failed the victims (“If the storm doesn’t kill me the government will.”). Another song with a social conscience is “Until The Day Is Done.” It was featured in the CNN special “Planet In Peril” which served as a wake-up call for the people of earth to save an environment in need.
“Accelerate” is a solid and effective effort by R.E.M., and a blueprint on how to revive a career nearly lost. U2 is a great example of how, after several great albums, a band can evolve and try new things just to remain fresh and relevant. Unfortunately, fans do not always travel down that road with their band. U2 then returned to the basics with 2000’s “All That You Can’t Leave Behind” and the result was nothing short of stellar. “Accelerate” is R.E.M.’s return. Let’s hope this revival is permanent.
Legend has it that guitarist Peter Buck was working at Wuxtry Records in Athens, Georgia when Michael Stipe strolled in. They talked about music and bands. The rest is history. Twenty-eight years and fourteen albums later R.E.M. has become the little band that could. With the 1982 EP “Chronic Town” and 1983’s “Murmur,” the college radio indie sound was all but invented by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe. Back then, supporters could join the R.E.M. Fan Club for $10. Always the band to put its fans first, membership is still $10.
After a hugely successful decade in the eighties which carried over into the early nineties, R.E.M. seemed to turn introspective, writing more personal songs. This was their nearly rock-free experimental phase. Not all experiments are successful, however, and this move led to limited exposure and fewer sales. The loyal fan base was growing up, getting jobs, and starting families. Bands evolve, people evolve, and things change. So, it was only normal that a “band of the 80s” faded from the spotlight. In 1997, drummer Bill Berry left the band after suffering a brain aneurism during an earlier tour in Europe. It was a huge personal blow to the other members, but they carried on. Since then, they’ve struggled to maintain their stride musically. They have still made good music, just not life-changing music that appeals to the masses. That is until now. “Accelerate” was released on April 1, and is no joke. Buck, Mills, and Stipe have returned to the guitar-driven sound and created their best and most urgent work in years.
The opener, “Living Well Is The Best Revenge,” showcases R.E.M’s return to rock. This simple, driving song harkens back to their punk-inspired roots. It also makes the statement that R.E.M. have been living well, with or without big radio hits. Ex-Ministry drummer Bill Rieflin and second guitarist Scott McCaughey complete the vital and aggressive new R.E.M.
The sound of “Man-Sized Wreath” is reminiscent of the “Document” era. Along with the band as a whole, Peter Buck’s guitar power has been resurrected. New life has officially been breathed back into R.E.M.
Then follows the first single from “Accelerate,” “Supernatural Superserious.” The song begins unassumingly with an a Capella Stipe singing “Everybody here…comes from somewhere.” At which point Buck submits a sonic interjection with his weapon, and listeners hear one of the most rocking and vital songs of 2008. With first-class instrumentation, intelligent lyrics, and terrific vocals (including the ever-present backing vocals of Mills), look for this one to grab a Grammy.
Track four begins with a melancholy piano and Stipe singing, “I’ve been lost inside my head / echoes fall off me / I took the prize last night for complicatedness / for saying things I didn’t mean and don’t believe.” “Hollow Man” then soars with guitar and drums and if your foot doesn’t tap, your heart isn’t beating. Stipe sings, “Believe in me, believe in nothing…” Towards the end of the song, a familiar guitar riff brings back memories of “Pretty Persuasion” from 1984’s “Reckoning.” Other straight-ahead rockers include “Accelerate,” “Horse To Water,” and “I’m Gonna DJ.”
The serious “Houston” traces the Hurricane Katrina story and how America failed the victims (“If the storm doesn’t kill me the government will.”). Another song with a social conscience is “Until The Day Is Done.” It was featured in the CNN special “Planet In Peril” which served as a wake-up call for the people of earth to save an environment in need.
“Accelerate” is a solid and effective effort by R.E.M., and a blueprint on how to revive a career nearly lost. U2 is a great example of how, after several great albums, a band can evolve and try new things just to remain fresh and relevant. Unfortunately, fans do not always travel down that road with their band. U2 then returned to the basics with 2000’s “All That You Can’t Leave Behind” and the result was nothing short of stellar. “Accelerate” is R.E.M.’s return. Let’s hope this revival is permanent.
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