R.E.M. 1980 - 2011

It seemed like they'd go on forever. Yes, after 30+ years, 15 studio albums, Athen's finest have called it a day. Though, their work has arguably seemed less essential since the departure of Bill Berry, the news marks an unprecedented end of an era, when many had expected, after so long for the group to continue to function indefinitely in a Rolling Stones fashion.

Citing the importance of knowing when to leave a party, alongside a supposed air of finality around the lyrics and tone of their final, untoured 'Collapse Into Now' collection, R.E.M. leave a gargantuan, varied back catalogue of fascinating songs, inspiring lyrics and retire with their integrity intact. With only one real dip in quality (2004's aimless, tepid 'Around The Sun) and a final two albums, whilst not up to 'Document' or 'Automatic For The People' standards, that were characterised by a real sense of fight, rejuvenation and fun, it seems a good time to reappraise the output of an act who were once on the biggest in the world, yet in recent years seemed strangely undervalued, even in terms of airplay for their old hits (Manchester Cricket Ground must have been half it's capacity if that in 2008 - a gig I truly didn't want to end).

Having shown the world how to be aloof, innovative and iconic (The I.R.S years), and how to sell millions without compromising your cult appeal or sense of creative alchemy (the earlier Warner years), R.E.M. created mysterious, timeless magic even at their commercial height. With their sense of playfulness ('Stand', 'Shiny Happy People', 'Bad Day'), the extraordinary, darkly melodic, understated early material ('9-9', 'Pretty Persuasion', 'Driver 8'), the defeated and resigned minimal albums ('Fables Of The Reconstruction', 'Up'), the glossy yet timeless perfect pop albums ('Out Of Time', 'Automatic For The People'), the run of classic radio hits stretching from 1987's 'The One I Love' and possibly only beginning to falter around 2001's 'All The Way To Reno'), and the desperately undervalued diversity of 1996's 'New Adventures In Hi-Fi', R.E.M. made classic pop songs of such lyrical depth and wonder right to the end that it's testament to what can be achieved in a rock-band set up, and with the frenetic change of pace marked by 'Accelarate' and 'Collapse Into Now' incorporating the classic R.E.M. melancholia of songs like 'Uberlin', they disband on a high, leaving magical memories and a body of work ripe for rediscovery.

A hugely inventive yet almost always accessible, unforgettable band I have rarely strayed from since childhood. An impeccable contribution. Only one song fits of course...

http://www.youtube.com/watch?v=Z0GFRcFm-aY&ob=av2e