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R.E.M. Began To Move Toward Mainstream Record Production On Lifes Rich Pageant, But They Didn't Have
A Commercial Breakthrough Until The Following Year's Document. Ironically, Document 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 Lifes Rich Pageant Sounded A Bit Like
A Party Record, Document 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.