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Chronic Town
A blue gargoyle with its tongue stuck out
EP by
R.E.M.
ReleasedAugust 24, 1982 (1982-08-24)
RecordedOctober 1981, January & June 1982
StudioDrive-In, Winston-Salem, North Carolina, United States
Genre
Length20:26
LanguageEnglish
LabelI.R.S.
Producer
R.E.M. chronology
Chronic Town
(1982) 		Murmur
(1983)

Chronic Town is the debut extended play (EP) by the American alternative rock band R.E.M. It was released on August 24, 1982, on I.R.S. Records. The five-track EP was recorded at Drive-In Studio in Winston-Salem, North Carolina, in October 1981, eighteen months after the formation of the band. Its co-producer was Mitch Easter, who produced the band's "Radio Free Europe" single earlier in 1981.

Chronic Town's opening track, "Wolves, Lower", was re-recorded in June 1982, two months before the EP's release. The title of the EP is part of the lyric to "Carnival of Sorts (Boxcars)", the third track on the release,[3] and the name of the first side of the EP. "Poster Torn", also a lyric in "Carnival of Sorts (Boxcars)", is the name of side two.

Background and recording

[edit]

After the minor success of the group's debut single "Radio Free Europe" in 1981, R.E.M. manager Jefferson Holt felt the band was ready to record a longer release. While he felt they were not ready to record a full album, Holt thought an EP would be satisfactory.[4] The band was uncertain at first if they would record with producer Mitch Easter (who had produced "Radio Free Europe"), but Easter managed to convince Holt and the band to let him produce it.

In October 1981, R.E.M. spent a weekend at Easter's Drive-In Studio recording the EP.[5] Easter was a fan of the electronic band Kraftwerk, which inspired him to try various sonic experiments while recording. Easter incorporated tape loops and recorded singer Michael Stipe singing outdoors.[6] "There were a lot of bugs out there," remembered Easter. "Whenever that 'house in order' part comes up, I think you can hear tons of crickets."[3]

The band was open to such experimentation and used the sessions as an opportunity to learn how to use a studio.[7] At the time of R.E.M.'s stint at the Drive-In, "the set-up was really simple," Easter said in 1994. "I had almost nothing in the studio back then, except a tape machine and a console and two compressors and one delay device. We couldn't do any fancy stuff."[3]

Easter continued: "I remember Chronic Town completely fondly because it was so relaxed, and so open to cutting the tape up and putting pieces in backwards and stuff. There were some fireworks one night, so we went and sat on the roof for four hours and watched the fireworks instead of working on the record—because we could, you know?"[3]

R.E.M. intended to release the EP on a proposed independent record label named Dasht Hopes run by Holt and his business partner David Healy, who funded three days of recording at the Drive-In.[5][8] However, the band's demo had caught the attention of I.R.S. Records.[9] The label signed the group to a record deal, working it out of its contracts with Healy and Hib-Tone, the indie label which released "Radio Free Europe".[10] I.R.S. heads Jay Boberg and Miles Copeland III felt the proposed track listing was weakened by the song "Ages of You" and "Jazz Lips",[3] and felt "Wolves, Lower" was a better choice. However, the pair felt the original take of the song was too fast. The band re-recorded "Wolves, Lower" with Easter in June 1982 in a quick recording session.[11]

During his time in Athens, Michael Lachowski, of Pylon, ran an answerphone service known as the Athens Party Telephone. Its initialism, A.P.T., was used in the lyric to "Stumble".[12]

Packaging

[edit]

The album's front cover features an image of the Stryge gargoyle from Notre-Dame Cathedral.[13]

Release

[edit]

I.R.S. released Chronic Town in August 1982 as its first American issue.[14] Reaction to the EP varied; one I.R.S. radio promoter said that many of his contacts at campus radio did not know what to make of the record, but added, "The Georgia stations and some of the more together college stations across the country jumped on it." The band filmed its first music video for "Wolves, Lower" to promote the record. The EP sold 20,000 copies in its first year.[15]

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarHalf star[1]
Robert ChristgauA−[16]
The Encyclopedia of Popular MusicStarStarStar[17]

I.R.S.'s Jay Boberg said of Chronic Town: "The thing that made me play the cassette again and again was that it kept getting better. It was not the kind of thing you listened to once or twice, casually, and said, 'Oh my God! This is tremendous!' It had a depth to it."[3]

NME reviewer Richard Grabel wrote, "Chronic Town is five songs that spring to life full of immediacy and action and healthy impatience. Songs that won't be denied." Grabel praised the songs' auras of mystery, and concluded, "R.E.M. ring true, and it's great to hear something as unforced and cunning as this."[18] Creem writer Robot A. Hull began his review saying, "This EP is so arcane that I had to play it six times in a row to get a handle on it – and even now, I'm still not sure." Hull praised the EP for "[evoking] the music of the late-'60s without any pretensions, mingling past and present to shape both into concurrent moments." Hull concluded, "Despite its eccentricity, R.E.M.'s record is undoubtedly the sleeper EP of the year."[19]

Chronic Town ranked second in the EP category of the Village Voice Pazz & Jop critics' poll in 1982.[20]

Track listing

[edit]

All songs written by Bill Berry, Peter Buck, Mike Mills and Michael Stipe.

Side one – "Chronic Town"

  1. "Wolves, Lower" – 4:10
  2. "Gardening at Night" – 3:29
  3. "Carnival of Sorts (Boxcars)" – 3:54

Side two – "Poster Torn"

  1. "1,000,000" – 3:06
  2. "Stumble" – 5:40

Personnel

[edit]

Personnel taken from the 2022 reissue liner notes[21]

R.E.M.

Production

Release history

[edit]

The EP was added to the CD edition of the band's rarities compilation album Dead Letter Office (1987), and again in 1993 in the I.R.S. Vintage Years edition of the compilation. In 2014, it was digitally remastered solely for online purchase from select high-resolution digital music stores. It is also available on analog formats such as LP and cassette.

It was bundled together with Murmur and Reckoning in the United Kingdom as The Originals in 1995. The EP also saw a standalone CD reissue on August 19, 2022, featuring liner notes written by producer Mitch Easter, marking the first CD release of the EP not tied to a compilation.[22]

For Record Store Day 2010, held on April 17 of that year, participating independent record stores sold a limited-edition and individually-numbered blue vinyl 12" reissue of the long-out-of-print EP.[23]

Chronic Town

Region Date Label Format Catalog
United States August 24, 1982 I.R.S. EP 44797-0502-1
Cassette tape SP-70502
Greece 1982 Illegal EP ILP 26097
Worldwide 1990 A&M LP 70502
Worldwide 1990 I.R.S. EP 44797-0502-4
United States, Canada, United Kingdom 2022 I.R.S. CD B0035613-02
Europe 2022 I.R.S. CD 00602445736416

Dead Letter Office

Region Date Label Format Catalog
United Kingdom April 27, 1987 I.R.S. LP 44797-0054-1
CD 44797-0054-2
United States April 28, 1987 I.R.S. CD 70054
Worldwide 1990 A&M CD 70054
Worldwide 1990 I.R.S. Cassette 44797-0054-4
The Netherlands 1993 EMI CD 0777 7 13199 2 1†
Worldwide 1994 A&M CD 195

Note †I.R.S. Vintage Years edition, with bonus tracks

The Originals

Region Date Label Format Catalog
United Kingdom 1995 I.R.S./EMI CD box set 7243 8 35088 2 2

References

[edit]

Works cited

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chronic Town

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from Grokipedia
Chronic Town is the debut extended play (EP) by the American alternative rock band R.E.M., released on August 24, 1982, by I.R.S. Records. The five-track EP, recorded primarily in October 1981 at Drive-In Studio in Winston-Salem, North Carolina, with producer Mitch Easter, introduced R.E.M.'s distinctive jangly guitar-driven sound, influenced by post-punk and folk rock, along with frontman Michael Stipe's mumbled, enigmatic lyrics. Originally intended for release on the independent label Dasht Hopes founded by the band's manager Jefferson Holt, it became I.R.S.'s first American release following R.E.M.'s signing to the label in May 1982. The EP's tracks—"Wolves, Lower," "Gardening at Night," "Carnival of Sorts (Box Cars)," "1,000,000," and "Stumble"—were captured over a single weekend, with basic tracking on Friday, vocals added on Saturday, and mixing completed on Sunday, though some refinements occurred in early 1982. These songs feature experimental elements such as tape loops, , and psychedelic textures, blending urgent rhythms with Peter Buck's arpeggiated guitar riffs, ' melodic basslines, and Bill Berry's propulsive drumming. The recording process emphasized the band's raw, unpolished energy, capturing their evolution from college radio favorites in , where they formed in 1980. Upon release, Chronic Town received critical acclaim for its innovative approach and immediacy, ranking second in the extended play category of the Village Voice's 1982 critics' poll, behind T-Bone Burnett's . In the UK, New Musical Express praised it, describing the record as consisting of ‘five songs that spring to life full of immediacy and action and healthy impatience.’ The EP sold modestly at first but built a , solidifying 's underground reputation and paving the way for their breakthrough debut album Murmur in 1983. Over the decades, Chronic Town has been recognized as a cornerstone of , influencing subsequent acts and earning reissues, including a 40th edition in 2022 that made it available as a standalone CD for the first time, complete with from and band interviews. Its enduring legacy lies in encapsulating R.E.M.'s early DIY ethos and sonic experimentation, which propelled them from regional obscurity to global stardom.

Production

Background

R.E.M. was formed in 1980 in , by vocalist , guitarist , bassist , and drummer , emerging from the vibrant local music scene centered around the . The band drew inspiration from the and movements, with influences including the angular rhythms of Athens acts like Pylon and the chiming guitar tones of North Carolina's scene. Early performances helped solidify their sound, including regular gigs at intimate venues such as , where they honed a distinctive blend of cryptic lyrics and melodic urgency that captivated local audiences. The band's debut single, "Radio Free Europe," was released in July 1981 on the independent Hib-Tone Records, marking their first foray into recording and achieving modest airplay on college radio stations, which introduced their music to a niche but enthusiastic audience beyond . This initial success prompted the hiring of Jefferson Holt as manager; a record store employee impressed by their live shows, Holt quickly facilitated broader exposure and attracted interest from major labels, including , which recognized the band's potential to bridge underground and mainstream rock. Following the single's reception, R.E.M. decided to produce a debut EP to capitalize on the growing buzz, initially planning its release through Dasht Hopes, an indie label established by Holt and business partner David Healey. However, after submitting demo tapes that showcased their evolving material, I.R.S. acquired the project, providing professional distribution and marking the band's transition from local heroes to a nationally viable act. This shift was driven by the EP's promise as a cohesive statement, recorded in late 1981 to capture the raw energy of their early performances.

Recording

The recording sessions for Chronic Town took place over approximately one week in early October 1981 at Mitch Easter's Drive-In Studio in . The band arrived on October 2 to set up equipment, with basic tracking commencing the following day on , where they laid down the core of four tracks that would comprise the EP: "Gardening at Night," "Carnival of Sorts (Box Cars)," "," and "Stumble." "Wolves, Lower," the EP's opening track, was recorded later in June 1982 at the same studio. Additional work, including overdubs and a brief attempt at another song, occurred on October 4, followed by initial mixing on October 5 and final mixes on October 7–8. Mitch Easter served as producer and engineer, co-credited with the band, and played a pivotal role in shaping the EP's distinctive sound by experimenting with guitar tones to achieve the jangly, arpeggiated textures that defined early R.E.M. He contributed subtle enhancements like extra acoustic guitars and unconventional elements such as sitar on select tracks, while handling the overall mixing to balance the band's raw energy with layered depth. The sessions utilized Easter's modified TEAC 80-8 eight-track recorder, which allowed for some overdubs but emphasized a live-in-the-studio feel to preserve the group's urgent, unpolished performance. One notable aspect of the production was the intentional rawness encouraged by Easter, who urged the band to embrace their quirky, exploratory approach rather than over-refine the material. Michael Stipe's vocals, often described as mumbled or indistinct, were captured in this vein as a deliberate stylistic choice reflecting his emerging abstract lyricism, rather than a technical flaw, with Easter supporting the band's decision to keep them upfront and unprocessed. This minimal intervention in overdubs helped maintain the EP's claustrophobic intensity and live-like immediacy, setting it apart from more polished recordings of the era.

Artwork and packaging

Cover art

The cover art for R.E.M.'s debut EP Chronic Town consists of a stark black-and-white of the Stryge , a famous stone grotesque perched on the Notre-Dame Cathedral in , set against a dark background with the band name and EP title rendered in simple, elegant white lettering. The image, a stock selected for its eerie and imposing presence, was credited to Curtis Knapp, while graphics were provided by Kako.n. This monochromatic design contributes to the EP's aura of mystery and detachment, mirroring the introspective and enigmatic quality of the music within. The choice of the Stryge gargoyle—a leering, winged figure symbolizing medieval grotesquerie—aligns with the EP's thematic undercurrents of isolation and the , evoking a timeless sense of watchful otherworldliness over an implied urban or "town" landscape. Printed on the front of the 12-inch vinyl , the artwork sets a tone of subdued intrigue without overt narrative, allowing the visual to resonate alongside the record's jangly, obscured sound. The EP's title, Chronic Town, was derived from a lyric in the track "Carnival of Sorts (Box Cars)," penned by vocalist during the recording sessions, capturing a notion of perpetual, stifling routine akin to chronic boredom in provincial life. This phrasing, appearing as "in chronic town" in the song, encapsulates the release's lyrical ambiguity and Stipe's early abstract style, though he has offered no explicit interpretation.

Packaging details

The original release of Chronic Town was issued as a 12-inch vinyl EP designed to play at 33⅓ RPM, pressed and distributed by I.R.S. Records under catalog number SP-70502. Early pressings featured a custom label design known as the "gargoyle" variant, which miniaturized elements from the cover artwork, while subsequent 1982 pressings transitioned to the standard I.R.S. label with its characteristic bullseye logo; runout grooves on these vinyls included etched identifiers such as "STERLING" for mastering and plant-specific stamps like "I" for Indianapolis pressings. The inner sleeve was typically a plain white paper type or poly-lined variant, with some copies featuring a promotional poly sleeve printed in Canada and bearing the © 1982 International Record Syndicate, Inc. notice; rare international editions, such as the 1984 Japanese pressing, included a lyric insert, though this was not standard for U.S. originals. Variants of the original 1982 pressing were produced at multiple facilities, including Electrosound, Goldisc, and , resulting in subtle differences in vinyl color (black or translucent Quiex amber/brown) and no on sleeves; later reissues from 1982 onward incorporated minor label adjustments and were not limited in quantity like some subsequent anniversary editions.

Release and promotion

Initial release

Chronic Town, the debut extended play by American alternative rock band R.E.M., was released on August 24, 1982, through in the United States. The EP had been recorded primarily in October 1981, with additional mixing in early 1982, at Drive-In Studio in . , founded in 1979 by as an independent imprint distributed by , represented a new venture aimed at emerging alternative and new wave acts, building on Copeland's prior success managing and establishing labels in the UK. Distribution for the EP focused on niche channels suited to its underground appeal, primarily college radio stations and independent record stores across the US, where it quickly gained traction among alternative music enthusiasts. Initial sales were modest but built a dedicated cult following in alternative scenes, without achieving mainstream chart entry or broad commercial success at the time. Promotion efforts were grassroots-oriented, with no separate single release for the opening track "Wolves, Lower," which remained exclusive to the EP. To support the launch, R.E.M. undertook a series of club tours primarily in the Southeast United States, performing at venues such as the 40 Watt Club and i & i in Athens, Georgia; Park Avenue in Orlando, Florida; and Badger’s Den at Spring Hill College in Mobile, Alabama, among others in late 1982.

Reissues and remasters

The first CD edition of Chronic Town appeared in 1987 as a bonus addition to the R.E.M. compilation album Dead Letter Office, marking the EP's initial digital release on I.R.S. Records. This inclusion provided the only compact disc availability of the tracks for many years, appended after the main compilation content. In 2010, a limited-edition blue vinyl reissue of the EP was released exclusively for Record Store Day by A&M Records and I.R.S. Records, limited and numbered to celebrate the original 1982 pressing. This 12-inch edition replicated the original format but was pressed in a distinctive color variant for collectors. Digital availability expanded in 2014 with files (FLAC at 24-bit/192kHz) released by , coinciding with broader iTunes distribution of the EP as a standalone title. Streaming platforms such as made Chronic Town accessible around the same period, enabling widespread online playback for the first time. The EP received its first dedicated standalone release in 2022 via to commemorate the 40th anniversary, remastered from the original tapes for enhanced audio fidelity. Engineer handled the remastering, which emphasized clarity in the jangling guitars and murmured vocals while preserving the raw energy of the 1982 recording. This edition included extensive by producer and was initially limited in physical copies before expanding to digital formats. Additional 2022 reissues encompassed a 12-inch EP, a cassette edition, and further digital options in and , all under . In 2025, Interscope Records announced a limited edition LP reissue, scheduled for release on November 20, 2025, as a long out-of-print edition of the 1982 debut EP. The EP remains included in R.E.M.'s catalog on streaming services and prior anniversary editions.

Musical content

Track listing

The original 1982 vinyl release of Chronic Town was issued as a 12-inch EP with the following track listing, divided by sides. All tracks were written by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe.
SideNo.TitleWriter(s)Length
A1."Wolves, Lower"/Buck/Mills/Stipe4:10
A2."Gardening at Night"/Buck/Mills/Stipe3:29
A3."Carnival of Sorts (Box Cars)"/Buck/Mills/Stipe3:54
B1."1,000,000"/Buck/Mills/Stipe3:06
B2."Stumble"/Buck/Mills/Stipe5:40
The total length of the EP is 20:19. The original release contained no bonus tracks.

Composition and style

Chronic Town is characterized by its genre infused with edges, featuring arpeggiated guitars and a tight that emphasize the band's early raw energy. The EP's sound draws from influences like and new wave, creating an enigmatic, guitar-driven aesthetic with nervy, claustrophobic arrangements recorded in minimal sessions. Michael Stipe's signature "mumbling" vocals—impressionistic and indistinct—add to the mysterious allure, often paired with harmonies from and , evoking a sense of Southern and psychedelic undertones. Key tracks highlight the EP's compositional diversity within its concise format. The opener "Wolves, Lower" deploys Peter Buck's jangly guitars in arpeggiated patterns, accompanied by quizzical, call-and-response elements and backward tape effects for a disorienting, impressionistic feel. "Gardening at Night" drives with rhythmic, bass-led propulsion and heartily strummed guitars, its wistful grooves inspired by surreal observations of everyday ennui. Meanwhile, "Carnival of Sorts (Box Cars)" unfolds with seductive, abstract structures and stream-of-consciousness lyrics that weave fragmented imagery. Lyrically, the EP explores themes of alienation, small-town ennui, and surreal , capturing a restless, exploratory vibe through cryptic phrases that feel like faded watercolors. For instance, "Stumble" repeats the "" amid and chomping sounds in a nearly deconstructed dance framework, amplifying sensations of isolation and otherworldly contemplation. Buck's sound and the minimal production—focusing on urgent guitars and an active without heavy overdubs—represent key innovations that prioritize raw intimacy over polish. Compared to R.E.M.'s 1983 debut album Murmur, Chronic Town is rawer and more minimalistic, with a murkier, lower-fi edge that laid the foundational template for and college radio's movement. This unrefined approach, while less layered than later works, established the band's enduring aesthetic of mystery and accessibility.

Personnel and credits

Band members

The core lineup of R.E.M. for the Chronic Town EP consisted of the four founding members, who performed all instruments and vocals on the recordings with no additional musicians involved.
  • Michael Stipe provided lead vocals and wrote the lyrics for all tracks.
  • Peter Buck played guitars, contributing the signature jangle that defined the EP's sound.
  • Mike Mills handled bass guitar and backing vocals.
  • Bill Berry performed on drums.

Production credits

The production of R.E.M.'s debut EP Chronic Town was led by , who served as both producer and engineer. Recorded over a whirlwind weekend in early October 1981 at Easter's Drive-In Studio in , the sessions captured the band's raw energy with minimal overdubs. Instruments were tracked on Friday, vocals added on Saturday, and the tracks mixed on Sunday, though some refinements occurred in early 1982. The band itself received co-producer credit alongside Easter, emphasizing their hands-on involvement in shaping the sound, though no additional external co-producers were involved. Executive producer: David Healey. Management: Jefferson Holt. Mastering was handled by Greg Calbi at Sterling Sound in New York City, providing the final polish to the recordings before their release on I.R.S. Records.

Reception and legacy

Critical response

Upon its 1982 release, Chronic Town garnered acclaim from music critics for its fresh, energetic post-punk sound and jangly guitars, marking R.E.M. as a promising new act in the underground scene. NME reviewer Richard Grabel praised the EP as "five songs that spring to life full of immediacy and action and healthy impatience," highlighting its vibrant, urgent appeal. Similarly, in a retrospective nod within Rolling Stone's coverage of R.E.M.'s early career, the EP was described as one of the previous year's "more invigorating, tuneful surprises." College music publications like Trouser Press contributed to the early buzz, noting that the five tracks, co-produced by Mitch Easter, continued the band's rough-hewn guitar pop style from their debut single while featuring standouts like the remarkable "1,000,000" and "Carnival of Sorts (Box Cars)." Critics occasionally pointed to Michael Stipe's mumbled, indecipherable vocals as a potential drawback, though many interpreted this obscurity as an intentional stylistic choice that enhanced the EP's enigmatic allure. The release's critical momentum was underscored by its second-place finish in the Village Voice's 1982 critics' poll for EPs, signaling broad approval among tastemakers. Retrospective assessments have solidified Chronic Town's status as a seminal milestone. awarded it a perfect five-star rating, lauding its role in defining the underground rock aesthetic of the through arpeggiated guitars and cryptic lyrics. Coverage of the 2022 reissue highlighted its enduring appeal. Spectrum Culture echoed this, calling it a "remarkably timeless and mature" work that served as a template for .

Commercial performance and impact

Upon its release in August 1982, Chronic Town achieved notable success within the independent music circuit, selling over 20,000 copies in its first year and exceeding expectations for a debut EP on the fledgling label. While it did not chart on mainstream listings, the EP became a cornerstone of college radio playlists, where R.E.M.'s enigmatic sound resonated strongly with listeners and programmers, building grassroots momentum that directly paved the way for the band's full-length album Murmur in 1983. It also ranked second in the EP category of the Village Voice's prestigious critics' poll for 1982, underscoring its immediate influence among tastemakers. The EP solidified R.E.M.'s position as pioneers of the indie rock movement, demonstrating how a band from the small college town of , could leverage independent distribution, college radio airplay, and relentless touring of modest venues to gain national traction without compromising their artistic vision. This approach not only established as leaders in the burgeoning alternative scene but also inspired subsequent acts, including Pavement—whose frontman has cited the band as a key influence—and Nirvana, with admiring their model of sustainable success in the indie ecosystem. By blending jangly guitars, energy, and undertones, Chronic Town helped define the "" aesthetic that would dominate the 1980s underground. In terms of lasting legacy, Chronic Town has been retrospectively hailed as a timeless debut EP, earning inclusion in curated lists of essential releases that shaped alternative music, such as Treble's "10 Essential Debut EPs" for its "jangly, anarchic artistry." Spin magazine has similarly recognized it as the "granddaddy" of fan-favorite introductory EPs in alternative rock, noting its role in fostering critics' enduring affinity for R.E.M. The 2022 40th-anniversary reissue, marking the first standalone CD edition in the U.S., further amplified its cultural resonance, coinciding with tribute events that celebrated its ties to the Athens music scene—a vibrant hub of DIY creativity that Chronic Town symbolized as a metaphor for the insular yet innovative spirit of small-town artistic stagnation and breakthrough.

References

  1. https://ultimateclassicrock.com/r-e-m-chronic-town/
  2. https://www.udiscovermusic.com/stories/r-e-m-chronic-town-review/
  3. https://store.remhq.com/products/chronic-town-cd
  4. https://www.robertchristgau.com/xg/pnj/pjres82.php
  5. https://www.nytimes.com/2011/09/22/arts/music/rem-breaks-up-after-31-years-as-a-band.html
  6. https://www.allmusic.com/artist/rem-mn0000325459
  7. https://www.ncarts.org/blog/2019/07/10/rock-sculptors-jangle-pop-college-rock-and-north-carolinas-influence-rem
  8. https://www.georgiaencyclopedia.org/articles/arts-culture/r-e-m/
  9. https://remhq.com/news/r-e-m-s-debut-1981-single-radio-free-europe-set-for-first-ever-reissue-press-release/
  10. https://www.rollingstone.com/music/music-news/r-e-m-the-ultimate-college-rock-band-graduates-83798/
  11. https://www.rollingstone.com/music/music-news/r-e-m-americas-best-rock-and-roll-band-181909/
  12. https://remhq.com/music/chronic-town/
  13. https://www.remtimeline.com/1981.html
  14. https://tapeop.com/interviews/21/mitch-easter
  15. https://spectrumculture.com/2022/08/21/r-e-m-chronic-town-review/
  16. https://www.worldradiohistory.com/Archive-All-Audio/Mix-Magazine/80s/86/Mix-1986-01.pdf
  17. https://store.remhq.com/products/chronic-town-picture-disc-ep
  18. https://www.facebook.com/PunkEffect/posts/released-43-years-ago-on-this-day-in-august-1982-the-debut-ep-chronic-town-with-/1377988070521719/
  19. https://www.discogs.com/release/1292116-REM-Chronic-Town
  20. https://decabet.com/2022/01/ranking-r-e-m-s-album-covers-aesthetically-1982-2011/
  21. https://www.shugarecords.com/products/rem-chronic-town-1982-new-ep-record-2022-irs-picture-disc-rock
  22. https://rateyourmusic.com/release/ep/r_e_m/chronic-town/
  23. https://www.sputnikmusic.com/review/85503/R.E.M.-Chronic-Town/
  24. https://www.discogs.com/master/14467-REM-Chronic-Town
  25. https://www.discogs.com/release/414121-REM-Chronic-Town
  26. https://www.discogs.com/release/2837874-REM-Chronic-Town
  27. https://www.discogs.com/release/2238753-REM-Chronic-Town
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  29. https://www.bsnpubs.com/aandm/irs.html
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  32. https://remhq.com/news/limited-edition-blue-vinyl-chronic-town-reissue-to-be-released-on-record-store-day-3/
  33. https://slicingupeyeballs.com/2014/05/20/rem-complete-rarities-warner-bros-1988-2011/
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  46. https://trouserpress.com/reviews/r-e-m/
  47. https://www.uncut.co.uk/news/r-e-m-to-reissue-their-debut-ep-chronic-town-to-mark-its-40th-anniversary-139122/
  48. https://www.udiscovermusic.com/stories/r-e-m-album-by-album-pt-1-the-irs-years/
  49. https://www.newyorker.com/books/under-review/how-rem-created-alternative-music
  50. https://www.treblezine.com/10-essential-debut-eps/
  51. https://www.spin.com/2022/08/best-r-e-m-albums/
  52. https://www.spin.com/2022/06/r-e-m-s-plots-first-standalone-cd-release-of-debut-ep-chronic-town/
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