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Murmur is the debut studio album by the American alternative rock band R.E.M., released in 1983 on I.R.S. Records.
Murmur drew critical acclaim upon its release for its unusual sound, defined by singer Michael Stipe's cryptic lyrics, guitarist Peter Buck's jangly guitar style, and bassist Mike Mills' melodic basslines.
R.E.M. started recording its debut album in December 1982.
I.R.S. paired R.E.M. with producer Stephen Hague, who had a higher profile than the band's previous producer Mitch Easter.
Hague's emphasis on technical perfection did not suit the band; the producer made the group perform multiple takes of the song "Catapult", which demoralized drummer Bill Berry.
Also, Hague took the completed track to Synchro Sound studios in Boston and added keyboard parts to the track without the band's permission and to their dismay.
Unsatisfied, the band members asked the label to let them record with Easter.
I.R.S. agreed to a "tryout" session, allowing the band to travel to North Carolina and record the song "Pilgrimage" with Easter and producing partner Don Dixon.
After hearing the track, I.R.S. permitted the group to record the album with Dixon and Easter.
I.R.S. paired R.E.M. with producer Stephen Hague, who had a higher profile than the band's previous producer Mitch Easter.
Hague's emphasis on technical perfection did not suit the band; the producer made the group perform multiple takes of the song "Catapult", which demoralized drummer Bill Berry.
Also, Hague took the completed track to Synchro Sound studios in Boston and added keyboard parts to the track without the band's permission and to their dismay.
Unsatisfied, the band members asked the label to let them record with Easter.
I.R.S. agreed to a "tryout" session, allowing the band to travel to North Carolina and record the song "Pilgrimage" with Easter and producing partner Don Dixon.
After hearing the track, I.R.S. permitted the group to record the album with Dixon and Easter.
R.E.M. entered Reflection Studios in Charlotte, North Carolina in January 1983 to begin recording sessions with Easter and Dixon.
Much of the band's material for the album had been tested on preceding tours.
Because of its bad experience with Hague, the band recorded the album via a process of negation, refusing to incorporate rock music cliches such as guitar solos or then-popular synthesizers, in order to give its music a timeless feel.
Berry in particular was resistant to "odd" musical suggestions, insisting that his drums be recorded in a drummer's booth, a practice that was antiquated at the time.
Dixon and Easter took a hands-off approach to much of the recording process.
The pair would only fix up a vocal track or ask singer Michael Stipe to re-record a vocal if it was very substandard.
In a rare instance of R.E.M. co-writing, Stipe asked friend Neil Bogan to contribute lyrics to "West of the Fields."
（Wikipedia）
Much of the band's material for the album had been tested on preceding tours.
Because of its bad experience with Hague, the band recorded the album via a process of negation, refusing to incorporate rock music cliches such as guitar solos or then-popular synthesizers, in order to give its music a timeless feel.
Berry in particular was resistant to "odd" musical suggestions, insisting that his drums be recorded in a drummer's booth, a practice that was antiquated at the time.
Dixon and Easter took a hands-off approach to much of the recording process.
The pair would only fix up a vocal track or ask singer Michael Stipe to re-record a vocal if it was very substandard.
Murmur's sound characterized the quieter, introverted side of the first wave of alternative rock in the United States.
The sound was new at the time, though not stepping beyond the constructs of traditional rock music.
The guitars have a bright, ring-like chime that brought on comparisons to The Byrds, and the bass guitar has the bright punchy sound of the Rickenbacker favored by Mike Mills.
Mills carries much of the melodic element of the music on the bass, contributing to the moody sound of early R.E.M. albums.
Also contributing to this sound is the distant singing of Michael Stipe whose obscure lyrics, sung indistinctly, lend to the mystery and depth of the music.
The sound was new at the time, though not stepping beyond the constructs of traditional rock music.
The guitars have a bright, ring-like chime that brought on comparisons to The Byrds, and the bass guitar has the bright punchy sound of the Rickenbacker favored by Mike Mills.
Mills carries much of the melodic element of the music on the bass, contributing to the moody sound of early R.E.M. albums.
Also contributing to this sound is the distant singing of Michael Stipe whose obscure lyrics, sung indistinctly, lend to the mystery and depth of the music.
In a rare instance of R.E.M. co-writing, Stipe asked friend Neil Bogan to contribute lyrics to "West of the Fields."
（Wikipedia）
Tracking List；
Radio Free Europe - 0:00
Pilgrimage - 4:09
Laughing - 8:36
Talk About the Passion - 12:35
Moral Kiosk - 15:59
Perfect Circle - 19:31
Catapult - 23:02
Sitting Still - 26:58
9--9 - 30:17
Shaking Through - 33:22
We Walk - 37:53
West of the Fields - 40:53 
Murmur was released in April 1983.
The record reached number 36 on the Billboard album chart.
A re-recorded version of "Radio Free Europe" was the album's lead single and reached number 78 on the Billboard singles chart that year.
Despite the acclaim awarded the album, by the end of 1983 Murmur had only sold about 200,000 copies, which I.R.S.'s Jay Boberg felt was below expectations.
Murmur was eventually certified gold (500,000 units shipped) by the Recording Industry Association of America in 1991.
The record reached number 36 on the Billboard album chart.
A re-recorded version of "Radio Free Europe" was the album's lead single and reached number 78 on the Billboard singles chart that year.
Despite the acclaim awarded the album, by the end of 1983 Murmur had only sold about 200,000 copies, which I.R.S.'s Jay Boberg felt was below expectations.
Murmur was eventually certified gold (500,000 units shipped) by the Recording Industry Association of America in 1991.
The album drew substantial critical acclaim.
Rolling Stone gave the album four out of five stars.
Reviewer Steve Pond felt the album fulfilled the promise the band showed on Chronic Town.
He wrote, "Murmur is the record on which [R.E.M.] trade that potential for results: an intelligent, enigmatic, deeply involving album, it reveals a depth and cohesiveness to R.E.M. that the EP could only suggest."
He concluded, "R.E.M. is clearly the important Athens band."
It was Rolling Stone's Best Album of 1983, beating Michael Jackson's Thriller, The Police's Synchronicity and U2's War.
Buck noted in 2002 that I.R.S. was "mind-boggled" by the album's positive reviews, especially in the British press, since R.E.M. had not yet toured that country.
Rolling Stone gave the album four out of five stars.
Reviewer Steve Pond felt the album fulfilled the promise the band showed on Chronic Town.
He wrote, "Murmur is the record on which [R.E.M.] trade that potential for results: an intelligent, enigmatic, deeply involving album, it reveals a depth and cohesiveness to R.E.M. that the EP could only suggest."
He concluded, "R.E.M. is clearly the important Athens band."
It was Rolling Stone's Best Album of 1983, beating Michael Jackson's Thriller, The Police's Synchronicity and U2's War.
Buck noted in 2002 that I.R.S. was "mind-boggled" by the album's positive reviews, especially in the British press, since R.E.M. had not yet toured that country.
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