Out of Time (1991)

Out of Time is the seventh studio album by American alternative rock band R.E.M., released on March 12, 1991, by Warner Bros. Records. The album changed R.E.M.'s status from that of a cult band to a massive international act. The record topped the album sales charts in both the United States and the United Kingdom, spending 109 weeks on U.S. album charts, with two separate spells at the top, and spending 183 weeks on the British charts, including one week at the top. The album has sold more than four and a half million copies in the United States and more than 18 million copies worldwide and was certified 4× Platinum by the RIAA. Out of Time won three Grammy Awards in 1992: one as Best Alternative Music Album, and two for its first single, "Losing My Religion".

Details

Out of Time combines elements of pop, folk and classical music heard on the band's previous album, Green, with a new concentration on country elements that would continue on 1992's Automatic for the People. It features guest appearances by KRS-One and Kate Pierson from The B-52's.

Preceded by the release of "Losing My Religion", which became R.E.M.'s biggest U.S. hit, Out of Time gave them their first U.S. and UK No. 1 album. The band did not tour to support the release, although they did make occasional appearances on television or at festivals. In Germany, it is the band's best-selling album, selling more than 1,250,000 copies, reaching 5× gold. Out of Time was the first R.E.M. album to have an alternative expanded release on CD, including expanded liner notes and postcards. In Spain, a contest was held to have a limited-edition cover, with the winner being an abstract oil painting.

For the 25th anniversary the album was remastered. The standard version of the reissue comes with a second disc of demos, the deluxe version adds a third disc featuring live acoustic tracks. It was released through Concord Records on November 18, 2016.

Songs

Time Side

"Radio Song" begins with a spoken-word introduction by KRS-One of Boogie Down Productions, rather than with instrumentation or vocals from the band. This marks a departure from the group's typical introductions, which often feature Bill Berry's drumming, Peter Buck's guitar, Mike Mills's bass, or Michael Stipe's vocals. Following KRS-One's initial lines, the arrangement transitions into more familiar territory, with Buck's guitar, Mills's bass, and Stipe's vocals entering the mix. The track incorporates elements of funk, a style R.E.M. had previously explored on "Can't Get There from Here" from Fables of the Reconstruction. In this instance, the funk elements are described by participants in the recording process as more naturalistic. The inclusion of KRS-One, who expanded his contribution beyond what was originally requested, is cited by members of the band as a significant factor in the track's development. Berry noted that the song, while built on a strong groove, lacked impact prior to the addition of KRS-One's performance.

Additional musicians contributed to the track. While Mills divided his performance between bass and Hammond organ, Peter Holsapple provided supplementary bass lines. Kidd Jordan performed on tenor, alto, and baritone saxophone, and producer Scott Litt added echo and tape loop effects. The track also marks the first appearance of strings on the album, arranged and conducted by Mark Bingham. Instrumentally, the track features funk-influenced guitar from Buck, syncopated drumming from Berry, and organ playing from Mills that has been likened to the style of recordings released on the Stax label. Stipe's vocal delivery incorporates both directness and irony. The song's lyrics address radio programming practices, specifically the repetition of formulaic content. Although the tone of the lyrics includes critique, Stipe later stated that the intent was partly humorous and self-referential.

"Losing My Religion" emerged from an initial idea by Buck. He experimented with a mandolin while drinking beer and watching a baseball game, recording the result on a boom box. During rehearsals, the band worked on this initial idea, with Berry initially playing bass before switching to drums. The song developed into a full band arrangement, with Buck on mandolin and electric octave guitar, Mills on bass and keyboard strings, Berry on drums and percussion, and Holsapple on acoustic guitar. The strings, arranged by Bingham and Mills, were performed by members of the Atlanta Symphony Orchestra at Soundscape Studios in Atlanta, Georgia, in October 1990.