{^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 {$Mike Mills}. [In 1992, the British division of {@IRS} reissued all of {$R.E.M.}'s albums with bonus tracks. Many of these cuts were featured on {^Dead Letter Office}, but others were rare flexi-discs, fan-club singles, compilation contributions, forgotten B-sides, live tracks, and outtakes. {^Lifes Rich Pageant} contained a number of oddities, from outtakes to flexi-discs. There's a pair of B-sides, {&"Rotary Ten"} and {&"Toys in the Attic,"} that appeared on {^Dead Letter Office}, and a live-in-the-studio version of {&"Just a Touch,"} but most fans will be interested in the previously unreleased {&"Tired of Singing Trouble"} (truth be told, it's not very good, lacking a real idea and barely lasting a minute) plus the group's two contributions to {^Athens, GA. Inside/Out}, {&"Dream (All I Have to Do)"} and an acoustic version of {&"Swan Swan H."} Even if there are no great revelations here, those last two songs are worth the extra price for hardcore fans, even if {$R.E.M.} themselves were reportedly unhappy with the bonus tracks on these reissues. However, keep in mind that many of these bonus tracks -- the ones that weren't originally on {^Dead Letter Office} -- later appeared on the limited-edition U.S. rarities collection {^In the Attic}, which means that these imports aren't necessarily worth the search.] ~ Stephen Thomas Erlewine, All Music Guide