| Automatic for the People | ||||
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| Studio album by | ||||
| Released | October 5, 1992 (1992-10-05)[1] | |||
| Recorded | June 1991 – July 1992 | |||
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| Genre | ||||
| Length | 48:52 | |||
| Label | Warner Bros. | |||
| Producer |
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| R.E.M. chronology | ||||
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| Singles from Automatic for the People | ||||
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Automatic for the People is the eighth studio album by the Americanalternative rock bandR.E.M., released on October 5, 1992, in the United Kingdom and Europe, and on the following day in the United States, byWarner Bros. Records. R.E.M. began production on the album while their previous album,Out of Time (1991), was still ascending charts and achieving global success. Several tracks includestrings arranged byJohn Paul Jones and conducted by George Hanson.
Yielding six singles, the album reached number two on the USBillboard 200 and received widespread acclaim from critics upon release.Rolling Stone reviewer Paul Evans concluded of the album, "This is the members of R.E.M. delving deeper than ever; grown sadder and wiser, the Athens subversives reveal a darker vision that shimmers with new, complex beauty."[13]Automatic for the People has sold more than 18 million copies worldwide, and has been listed as one of the greatest albums of all time,[14] withRolling Stone ranking the album number 96 on its list of the "500 Greatest Albums of All Time" in 2020.[15]
What would becomeAutomatic for the People had its origins in the mixing sessions for R.E.M.'s previous albumOut of Time, held atPaisley Park Studios in December 1990. There, demos for "Drive", "Try Not to Breathe", and "Nightswimming" were recorded.[16] After finishing promotional duties forOut of Time, the members of R.E.M. began formal work on their next album. Starting the first week of June 1991,[17] guitaristPeter Buck, bassistMike Mills, and drummerBill Berry met several times a week in a rehearsal studio to work on new material. Once a month they would take a week-long break. The musicians would often trade instruments: Buck would play mandolin, Mills would play piano or organ, and Berry would play bass. Buck explained that writing without drums was productive for the band members.[18] The band, intent on delivering an album of harder-rocking material afterOut of Time, made an effort to write some fasterrock songs during rehearsals, but came up with less than a half-dozen prospective songs in that vein.[19]
The musicians recorded the demos in their standard band configuration.[18] According to Buck, the musicians recorded about 30 songs. Lead singerMichael Stipe was not present at these sessions; instead, the band gave him the finished demos at the start of 1992.[20] Stipe described the music toRolling Stone early that year as "[v]ery mid-tempo, pretty fucking weird [...] More acoustic, more organ-based, less drums".[21] In February, R.E.M. recorded another set of demos atDaniel Lanois's Kingsway Studios inNew Orleans.[22]
The group decided to create finished recordings with co-producerScott Litt atBearsville Studios inWoodstock, New York, starting on March 30.[23] The band recorded overdubs inMiami andNew York City. String arrangements were recorded inAtlanta.[24] After recording sessions were completed in July, the album was mixed atBad Animals Studio inSeattle.[17] "The countermelody I sing on "Try Not to Breathe" is one of my favorites because everybody else left," Mills explained in 2023. "I'm in the studio and looking in the control room — I know there's something that's going to be good in this spot of the song. I try all these different things and I'm not finding it. And then I hit the right thing and I locked eyes withScott McCaughey from 40 feet away. We just both knew that was the direction. It was very thrilling to have that moment."[25] Seattle-based McCaughey spent time with the band while they were at Bad Animals Studio.[26]
Despite R.E.M.'s initial desire to make an album of rocking, guitar-dominated songs afterOut of Time, music criticDavid Fricke noted that insteadAutomatic for the People "seems to move at an even more agonized crawl" than the band's previous release.[19] Peter Buck took the lead in suggesting the new direction for the album.[24] The album dealt with themes of loss and mourning inspired by "that sense of [...] turning 30", according to Buck. "The world that we'd been involved in had disappeared, the world ofHüsker Dü andThe Replacements, all that had gone [...] We were just in a different place and that worked its way out musically and lyrically."[27] "Sweetness Follows", "Drive", and "Monty Got a Raw Deal" in particular expressed much darker themes than any of the band's previous material and "Try Not to Breathe" is about Stipe's grandmother dying.[citation needed]
The songs "Drive", "The Sidewinder Sleeps Tonite", "Everybody Hurts", and "Nightswimming" feature string arrangements by formerLed Zeppelin bassistJohn Paul Jones. Of the fourteen classical musicians, eleven were members of theAtlanta Symphony Orchestra,[28] which had also been used onOut of Time. Fricke stated that "ballads, in fact, define the record", and noted that the album featured only three "rockers": "Ignoreland", "The Sidewinder Sleeps Tonite", and "Man on the Moon".[19]
"It pretty much went according to plan," Litt reported. "Compared toMonster, it was a walk in the park.Out of Time had an orchestral arrangement—so, when we didAutomatic, judging where Michael was going with the words, we wanted to scale it down and make it more intimate."[29]
"Song by song [...] the whole album is referencing the 1970s," recalls Stipe. "Everybody Hurts" was inspired byNazareth's cover of "Love Hurts". "Drive" was an homage toDavid Essex and "Rock On", especially that song's earlyglam rock production style.[30]
The album name refers to the motto ofAthens, Georgia-based eateryWeaver D's Delicious Fine Foods.[31] The photograph on the front cover is not related to the restaurant; rather, it shows a star ornament (a so-called "Neo-Lectra" or "Sputnik star" that was common in the 1960s[32]) that was part of the sign for the Sinbad Motel onBiscayne Boulevard in Miami,[33] near Criteria Studios, where the bulk of the album was recorded. The motel is still there, but the star has not been since it was damaged duringHurricane Andrew. The slanted support where it was once attached is still present.[34] "The album was going to be calledStar at one point, hence the object on the cover that Michael had photographed and really dug,"Scott Litt toldMojo. "It helps to have some kind of focus in the studio, so the photo was stuck up."[29] The star photograph is placed over anembossed image, which is also included inside the album's booklet distorted on a white background.
The interior jacket shows a two- to three-story circular platform that was the sign for the old Bon Aire Motel on the former Motel Row onMiami Beach. The Bon Aire and other motel row establishments have mostly been demolished for new high-rise condominiums.
The back cover features a photograph of an old building with the track listing written over at the same angle from which the building is viewed. Other photographs, taken byAnton Corbijn, feature the band members on a beach.
The compact disc release was originally issued in a jewel case with a translucent yellow CD tray, traded out with a then-standard opaque black tray on later pressings; the cassette shell was also issued with the same color. The yellow was made to match the color of the CD. The band would later use a similar method for their 1994 albumMonster, which was released with a metallic orange CD tray on early copies (though this matched the album cover).
Automatic for the People was released in October 1992. In the United States, the album reached No. 2 on theBillboard 200 album charts.[35] The album reached No. 1 in the United Kingdom, where it topped theUK Albums Chart on four separate occasions.[36] Despite only making a handful of promotional appearances and conducting a short mini-tour forOut of Time, R.E.M. drastically scaled back their live appearances even further forAutomatic for the People, and did not do any tours whatsoever.Automatic for the People has been certified four times platinum in the US (four million copies shipped), six times platinum in the United Kingdom (1.8 million shipped), and three times platinum in Australia (210,000 shipped).[37] The album has sold 3.52 million copies in the US, according toNielsen SoundScan sales figures as of 2017[update].[38] In 1993, the album has sold 1.7 million copies in the US, according toBillboard's lists of 1993's best-selling albums domestically.[39]
Automatic for the People yielded six singles over the course of 1992 and 1993: "Drive", "Man on the Moon", "The Sidewinder Sleeps Tonite", "Everybody Hurts", "Nightswimming" and "Find the River". Lead single "Drive" was the album's highest-charting domestic hit, reaching No. 28 on theBillboard Hot 100. Other singles charted higher overseas: "Everybody Hurts" charted in the top ten on theUnited Kingdom singles chart, Canada, and Australia.[37]
A live, harder, version of "Drive" appears on theAlternative NRG, recorded at Athens'40 Watt Club on November 19, 1992, during an invitation-only concert supportingGreenpeace Action. A re-recorded, slower version of "Star Me Kitten", featuringWilliam S. Burroughs, was released onSongs in the Key of X: Music from and Inspired by the X-Files in 1996.
The music videos from the album were included in the 1995 video releaseParallel.
In 2005,Warner Bros. Records issued a two-disc edition ofAutomatic for the People which includes a CD, aDVD-Audio disc containing a5.1-channelsurround sound mix of the album done byElliot Scheiner, and the original CD booklet with expandedliner notes.[citation needed]
A 25th anniversary edition was released on November 10, 2017, byCraft Recordings, featuring four discs of live recordings, demos, and the album remixed inDolby Atmos, makingAutomatic for the People the first music release on this format.[40]
| Aggregate scores | |
|---|---|
| Source | Rating |
| Metacritic | 96/100[41] |
| Review scores | |
| Source | Rating |
| AllMusic |  [42] |
| Chicago Tribune |  [43] |
| Entertainment Weekly | A[44] |
| The Independent | [45] |
| Los Angeles Times | [46] |
| NME | 10/10[47] |
| Pitchfork | 9.3/10[48] |
| Q |  [49] |
| Rolling Stone | [50] |
| Select | 5/5[51] |
The album received widespread acclaim from critics upon release. R.E.M. biographer David Buckley wrote, "Automatic for the People is regarded by Peter Buck and Mike Mills, and by most critics, as being the finest R.E.M. album ever recorded."[52]Rolling Stone gave the album five stars. Reviewer Paul Evans wrote, "Despite its difficult concerns, most ofAutomatic is musically irresistible."[50]Melody Maker reviewerAllan Jones commented, "It's almost impossible to write about the record without mentioning the recent grim rumours concerning Stipe's health", in reference to the rumors at the time that the singer was dying ofAIDS orcancer. Jones concluded his review by noting, "Amazingly, initial reactions toAutomatic for the People in this particular vicinity have been mixed. [...] Psshaw to them.Automatic for the People is R.E.M. at the very top of their form."[53]Ann Powers, reviewing the album forThe New York Times, noted that only three of the songs on the album went beyond mid-tempo and said, "Only 'Man on the Moon' shines with a wit that balances R.E.M.'s somber tendencies." Powers finished her review by saying, "Even in the midst of such disenchantment, R.E.M. can't resist its own talent for creating beautiful and moving sounds. [...] Buck, Mills and Berry can still conjure melodies that fall like summer sunlight. And Stipe still possesses a gorgeous voice that cannot shake its own gift for meaning."[54]Guy Garcia, forTime, also noted the album's themes of "hopelessness, anger and loss".[55] Garcia added that the album proves "that a so-called alternative band can keep its edge after conquering the musical mainstream" and that it "manages to dodge predictability without ever sounding aimless or unfocussed."[55]
Automatic for the People placed third in theVillage VoicePazz & Jop year-end critics' poll.[56]The Village Voice'sRobert Christgau later gave the album a three-star honorable mention rating, indicating "an enjoyable effort consumers attuned to its overriding aesthetic or individual vision may well treasure."[57] The album was nominated forAlbum of the Year at theGrammy Awards of 1994, but lost toWhitney Houston'sThe Bodyguard.[58] It was later ranked number 247 inRolling Stone's500 Greatest Albums of All Time,[59] 249 in a 2012 revised list,[60] and 96 in a 2020 reboot of the list.[61]Rolling Stone also ranked it at number 18 on its 100 Greatest Albums of the 90s list. It was also voted number 6 inColin Larkin'sAll Time Top 1000 Albums 3rd Edition (2000). In 2006,British Hit Singles & Albums andNME organised a poll of which, 40,000 people worldwide voted for the 100 best albums ever andAutomatic for the People was placed at number 37 on the list.[62] The album was also included in the book1001 Albums You Must Hear Before You Die.[63]
"I'm not so crazy about 'The Sidewinder Sleeps Tonite'," Buck reflected in 2001, "but overall I think it sounds great."[64] Buck added in 2003, in regard to the song, "We included this song onAutomatic in order to break the prevailing mood of the album. Given that lyrically the record dealt with mortality, the passage of time, suicide and family, we felt that a light spot was needed. In retrospect, the consensus among the band is that this might be a little too lightweight."[65]
According to the review aggregatorMetacritic,the 25th anniversary re-release of Automatic for the People received "universal acclaim" based on aweighted average score of 96 out of 100 from 17 critic scores.[41] In 2017,Pitchfork calledAutomatic for the People a "nakedly emotional album consumed by the anxiety of aging, the inevitability of death, the loss of innocence, and the impossibility of holding on to the past";[48] in 2022, they ranked this album the 63rd best of the 1990s.[66] According to Tom Ewing ofFreaky Trigger, R.E.M.'s achievement onAutomatic for the People "was to wear their craft on their sleeve, making everything Michael Stipe sang sound both homespun and hard-won – a distillate of a decade making music and a lifetime hearing it."[67]
All songs written byBill Berry,Peter Buck,Mike Mills andMichael Stipe
Side one – "Drive side"
Side two – "Ride side"
R.E.M.
Additional musicians
String section on "Drive", "The Sidewinder Sleeps Tonite", "Everybody Hurts", and "Nightswimming"
Production
Artwork
Weekly charts[edit]
| Year-end charts[edit]
Decade-end charts[edit]
|
| Region | Certification | Certified units/sales |
|---|---|---|
| Argentina (CAPIF)[112] | Gold | 30,000^ |
| Australia (ARIA)[113] | 4× Platinum | 280,000^ |
| Austria (IFPI Austria)[114] | 2× Platinum | 100,000* |
| Canada (Music Canada)[115] | 7× Platinum | 700,000^ |
| Denmark (IFPI Danmark)[116] | 4× Platinum | 80,000‡ |
| France (SNEP)[117] | Platinum | 300,000* |
| Germany (BVMI)[118] | 5× Gold | 1,250,000^ |
| Italy (FIMI)[119] sales since 2009 | Gold | 25,000‡ |
| Netherlands (NVPI)[120] | 3× Platinum | 300,000^ |
| New Zealand (RMNZ)[121] | Platinum | 15,000^ |
| Spain (PROMUSICAE)[122] | 2× Platinum | 200,000^ |
| Sweden (GLF)[123] | 2× Platinum | 200,000^ |
| Switzerland (IFPI Switzerland)[124] | 2× Platinum | 100,000^ |
| United Kingdom (BPI)[125] | 8× Platinum | 2,400,000‡ |
| United States (RIAA)[126] | 4× Platinum | 3,520,000[38] |
| Summaries | ||
| Worldwide | — | 18,000,000[14] |
* Sales figures based on certification alone. | ||
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