{^Fables of the Reconstruction} was intentionally murky, and {^Lifes Rich Pageant} was constructed as its polar opposite. Teaming with producer {$Don Gehman}, who previously worked with {$John Mellencamp}, {$R.E.M.} developed their most forceful record to date. Where previous records kept the rhythm section in the background, {^Pageant} emphasizes the beat, and the band turns in its hardest rockers to date, including the anthemic {&"Begin the Begin"} and the punky {&"Just a Touch."} But the cleaner production also benefits the {\ballads} and the mid-tempo janglers, particularly since it helps reveal {$Michael Stipe}'s growing political obsessions, especially on the environmental anthems {&"Fall on Me"} and {&"Cuyahoga."} The group hasn't entirely left myths behind -- witness the Civil War {\ballad} {&"Swan Swan H"} -- but the band sound more contemporary both musically and lyrically than they did on either {^Fables} or {^Murmur}, which helps give the record an extra kick. And even with excellent songs like {&"I Believe,"} {&"Flowers of Guatemala,"} {&"These Days,"} and {&"What if We Give It Away,"} it's ironic that the most memorable moment comes from the {\garage rock} obscurity {&"Superman,"} which is sung with glee by {$Mike Mills}. ~ Stephen Thomas Erlewine, All Music Guide