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"Losing My Religion" is a song by the American alternative rock band R.E.M., released in February 1991 by Warner Bros. as the first single from their seventh album, Out of Time (1991). It developed from a mandolin riff improvised by the guitarist, Peter Buck , with lyrics about unrequited love .
The band also performed "Losing My Religion" with members of the Atlanta Symphony Orchestra at Madison–Morgan Cultural Center, in Madison, Georgia, as part of MTV's 10th-anniversary special. [31] After spending some months off, R.E.M. returned to the studio in 1991 to record their next album. In late 1992, the band released Automatic for the ...
Barbara Ellen from NME wrote, "This whilst still gorgeous does not match 'Losing My Religion's maverick vision, or the ecstatic giggle of 'Shiny Happy People'." [3] Parry Gettelman from Orlando Sentinel felt that "Near Wild Heaven" "already overdoes the contrast between dark-edged lyrics and a light-hearted melody by folding Mike Mills' lead vocal into a sugary arrangement.
Band of the Year Nominated [9] Out of Time: Album of the Year Nominated "Losing My Religion" Song of the Year Nominated Music Video of the Year Nominated 1993 "Drive" Nominated Song of the Year Won Automatic for the People: Album of the Year Won R.E.M. Band of the Year Won 1995 Monster: Best Foreign Album Nominated 1996 New Adventures in Hi-Fi ...
"Losing My Religion" Out of Time: Bill Berry, Peter Buck, Mike Mills, Michael Stipe: Scott Litt and R.E.M. 1991 "Lotus" Up: Peter Buck, Mike Mills, Michael Stipe: Pat McCarthy and R.E.M. 1998 "Love Is All Around" I Shot Andy Warhol soundtrack: Reg Presley: Scott Litt and R.E.M. 1996 "Low" Out of Time: Bill Berry, Peter Buck, Mike Mills, Michael ...
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REM’s bassist sends an angry tweet after the band’s songs “Everybody Hurts” and “Losing My Religion” are played at one of his rallys: “We are exploring all legal avenues to prevent ...
"The record's biggest surprise, however, is its one surefire pop hit, "Everybody Hurts", an almost unbearably passionate argument against suicide. It sounds like a gigantic arena transfiguration of a '50s rock ballad, with Stipe's voice pleading over triplets and massed strings, and surely will be played on radio for generations to come, right next to unforgettable anthems like "Bridge Over ...