{"product_id":"document-2","title":"Document","description":"\u003cp\u003eR.E.M. began to move toward mainstream record production on \u003ci\u003eLife's Rich Pageant\u003c\/i\u003e, but they didn't have a commercial breakthrough until the following year's \u003ci\u003eDocument\u003c\/i\u003e. Ironically, \u003ci\u003eDocument\u003c\/i\u003e is a stranger, more varied album than its predecessor, but co-producer Scott Litt -- who would go on to produce every R.E.M. album in the following decade -- is a better conduit for the band than Don Gehman, giving the group a clean sound without sacrificing their enigmatic tendencies. \"Finest Worksong,\" the stream-of-conscious rant \"It's the End of the World as We Know It (And I Feel Fine),\" and the surprise Top Ten single \"The One I Love\" all crackle with muscular rhythms and guitar riffs, but the real surprise is how political the mid-tempo jangle pop of \"Welcome to the Occupation,\" \"Disturbance at the Heron House,\" and \"King of Birds\" is. Where \u003ci\u003eLife's Rich Pageant\u003c\/i\u003e sounded a bit like a party record, \u003ci\u003eDocument\u003c\/i\u003e is a fiery statement, and its memorable melodies and riffs are made all the more indelible by its righteous anger. In other words, it's not only a commercial breakthrough, but a creative breakthrough as well, offering evidence of R.E.M.'s growing depth and maturity, and helping usher in the P.C. era in the process.\u003c\/p\u003e","brand":"Universal","offers":[{"title":"CD","offer_id":50454013313355,"sku":"2002773","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Document_2b4e8deb_thumbnail_4096.jpg?v=1727179748","url":"https:\/\/shop.roughtrade.com\/de\/products\/document-2","provider":"Rough Trade","version":"1.0","type":"link"}