A 2008 deluxe edition (released for the album’s 25th anniversary) added a second disc, which was a live show from a couple months after the album’s release.
“Singer Michael Stipe has often said that the title was chosen because it’s one of the easiest words to pronounce in the English language.” JD Ironically, it is also an apt description of his singing style; AZ he “unspooled his lyrics as if they constituted some new secret language.” RS However, at the same time “his smooth pop vocal mannerisms sweeten the enigmatic poetry.” AZ “The lyrics and the melodies seem buried, almost subliminal, and even the hookiest songs…resist clarity.” RS “His voice works more as a fourth instrument, complementing the band musically.” PK “Stipe knew that words chosen merely for the way they sound and phrases that suggest something without actually saying anything can be much more powerful than lyrics that try to tell a story, because the listener is free to fill in the blanks with his or her imagination.” JD
“Like all great bands, R.E.M.’s individual parts…are as interesting as the collective sound.” AZ Peter Buck’s guitar playing draws “heavily on the trademark Rickenbackers of the early Byrds, with the occasional burst of Velvets-style feedback and garage-rock fuzz thrown in for emphasis.” JD Mike Mills provides “melodic counterpoints with his ultra-musical bass parts, and [drummer Bill] Berry shows considerable imagination in varying his propulsive backbeats with deft and colorful use of elaborate patterns on the tom-toms. Both also add beautiful harmony vocals.” JD
Murmur “marked the point at which the punk legacy made peace with rock history, and a new U.S. folk music was born.” BL After the rise of punk rock in the ‘70s, the early ‘80s gave birth to “a strong network of small, independent labels and a string of clubs, fanzines and college radio stations to support them. R.E.M. tapped into this scene, took full advantage of it, and arguably became its biggest cheerleader” JD “playing simple, stripped down songs merging Byrds-like jangly guitars with Velvet Underground-ish drony melodicism.” PK
“Though critics swamped R.E.M.’s 1983 full-length debut with country-rock comparisons to the Byrds, Murmur sounds like no one else.” AZ While “firmly in the tradition of American folk-rock, post-punk, and garage rock, Murmur sounds as if it appeared out of nowhere, without any ties to the past, present, or future.” AMG
As Buck, “a rock scholar who had worked in a record store,” RS said, “We wanted to have this kind of timeless record.” RS Indeed, “the songs on Murmur sound as if they’ve existed forever, yet they subvert folk and pop conventions by taking unpredictable twists and turns into melodic, evocative territory, whether it’s the measured riffs of Pilgrimage, the melancholic Talk About the Passion, or the winding guitars and pianos of Perfect Circle.” AMG We also get ““the amusing perplexity of 9-9 and Moral Kiosk; the soothing wisdom of Stipe’s voice in Shaking Through.” SL “Nearly every song is an unforgettable gem.” PK
“The band made its recorded debut in the summer of 1981 with a song that paid homage to the spirit of the young, independent broadcasters…The tiny Hib-Tone label only pressed 1,000 copies of Radio Free Europe, but the single topped the Village Voice’s year-end critics' poll, and the attention helped the band land its deal with I.R.S.” JD From there, they record the E.P. Chronic Town in 1982. However, by the time of their debut album, R.E.M. left “behind the garagey jangle pop of their first recordings,” AMG “de-emphasizing the backbeat and accentuating the ambience of the ringing guitar.” AMG
“The production, by then-college radio stalwarts Don Dixon and Mitch Easter, is shimmering but never slick, making this rise above the early DIY indie rock dustheap without falling prey to the new wave excesses of the early ‘80s scene.” PK “Throughout the sessions, there was pressure from I.R.S. to produce a hit, but…the band say they tuned the company out and proceeded to craft the sort of finely textured cult album they adored” – Big Star’s Third/Sister Lover, Velvet Underground’s eponymous third album, Neil Young’s Tonight’s the Night, and Wire’s Pink Flag. JD The “result should have been a complete mess” PK but became “one of the most remarkable, near-perfect debut albums of the rock era” PK and “a founding document of alternative rock, released just as Gen X was starting to go to college.” RS “Truly a must-own album.” PK