REM: Classic or dud?

"Crush with eyeliner" is a heckofa glam title.

Bang & Blame is kind of the point when Stipe stopped bothering to write songs in favour of the 'Bark. One. Word. One. Note. At. A. Time' vocal style he'd adopt with increasing frequency for the rest of his career.

Actually I might be confusing it with I Took Your Name. I've not listened to that album in years.

Bang & Blame was a fairly big hit. The one that starts "If you could see yourself now baby/It's not my fault/You used to be so in control" (or something along those lines). It's this shivery Johnny Kidd & the Pirates type thing with a big big rockin' chorus.

I hear/understand the glam thing now - I was thinking "Glam" as in Roy Wood, not glam as in the whole of Monster sounds like it's been recorded in an ice-blue dressing room booth, lightbulbs around the mirrors and feather boas hanging on the wall. Weirdly incongruous next to the rugged Americana that is their surface sound.

My problem with latterday REM is not only with the music but also with Stipe's persona. He was always this enigmatic figure who didn't often do interviews (press chores used to be handled mostly by Buck and Mills). Then around Up he seemed to lose most of that mystique and became this media-friendly interviewee. The lyrics got printed on the sleeve for the first time with that album as well. He just seemed to become a more straightforward and less complex person.

I dunno, he always seemed to be a nice bloke.

I had problems with early REM, in a way..

Their first Tube appearance, they sounded so much like the band I was in, it reminded me of "work"...

I find REM's strike rate throughout their career very impressive, considering The Rolling Stones were putting out stuff like 'Voodoo Lounge' around 31 years in their career.

No love for 'World Leader Pretend'? Man, I love that song.
https://www.youtube.com/watch?v=IKDrhf-OgrA

Rob O'Connor had a good album-by-album farewell yesterday:

http://new.music.yahoo.com/blogs/listoftheday/141512/remthe-final-grades-are-in/

I also always thought Fables was a little underrated. Rob's final grade for "Effort" reminded me of the Kool Moe Dee scorecard that came with that one album; I think he should have also graded them for "Sticking to Themes," "Innovating Rhymes," and "Articulation" (on the first few albums, not so good there).

I love "World Leader Pretend." That's one of the 1/3rd of that album that really gives me a lot of pleasure when I hear it. "World Leader Pretend," "You are the Everything," a few more of the deep cuts. Seem like clear precursors to "Out of Time."

https://www.youtube.com/watch?v=iwgKo0D1FyQ

i admired the way they handled success, with about as much grace as is possible in the music industry

yeah an i disagree about them being genre tourists, REM always sounded like REM to me, even with the changes in styles they went through

Stylistic mish-mash was always there. Look at what they covered: Roger Miller, VU, Wire, their roots were always more complicated than they seemed. (Which is probably the real way they were like the Byrds, who they never actually covered afaik.)

Also, these are fun. The first-ever write-ups from the UGA student paper:

http://redandblack.com/2011/09/21/the-first-article-written-about-r-e-m-may-8-1980/

If you go to that old Mike Mills interview I posted last night, he talks about (and essentially brushes off) the Byrds comparisons everyone was making early on.

REM were the first band I remember seriously discussing with friends, and in fact forming friendships because of being into them / music in general. This was around 1991, when I was starting secondary school. I got interested after hearing Losing My Religion on the radio, then I taped Document (which I really really loved) and Green off a guy in my class and bought my own copy of Out of Time (also on cassette).

I bought AFTP the day it came out, I didn't really get it at the time but it's my favourite REM album now. An Irish radio station organised a "listening party" about a week before the release but I wasn't allowed to go - mostly I think cos my mum couldn't understand what the point of that would be, and I couldn't adequately explain it myself.

Bought Monster on CD and went to see them play at Slane Castle in 1995. That was truly memorable. During "Let Me In" everyone in the crowd (maybe 80,000 people) started throwing paper cups in the air, they turned the stage lights onto them all falling like rain and it made a big impression.

Stopped paying attention after that, altho I definitely rate a few of the later singles with their best stuff (Daysleeper, Imitation of Life, Leaving NY, The Great Beyond). No sadness at them breaking up now, I'm sure they're relieved at having fulfilled their contractual obligations. They all seem pretty good at finding creative outlets outside REM so I'm sure that will continue, not anticipating any reunion tours...

tl;dr version: good sometimes great band, very important at certain times in my life, they had a good innings!

they always talked about how they were aping the soft boys, not the byrds. still . . . anxiety of influence?

xpost

I love that the first article ever published about R.E.M. says "This was dance music impossible to resist."

I hate the "Green/Out of Time was the beginning of the end..." argument. In what way was Automatic not a peak? Maybe not THE peak, but still...

That's what I especially love about the "Carnival of Sorts" clip posted last night--all that great dancing!

My problem with latterday REM is not only with the music but also with Stipe's persona. He was always this enigmatic figure who didn't often do interviews (press chores used to be handled mostly by Buck and Mills). Then around Up he seemed to lose most of that mystique and became this media-friendly interviewee. The lyrics got printed on the sleeve for the first time with that album as well. He just seemed to become a more straightforward and less complex person.

I disagree with this, surely it's just imagined complexity rather than complexity itself? Dunno, in later Stipe interviews he just seems much more comfortable with himself as a person... you can't really fault him for not being the same person as he was 15 years before, or for not wanting to continue to portray that image.

Automatic certainly was a peak, the beginning of the end was Monster.

xp

I agree with Matt. I see Murmur to Automatic as an unimprovably elegant arc, each two albums marking a different phase, with two very different masterpieces bookending it. After that it becomes more difficult and diffuse but people who have problems with Document through Automatic I guess just aren't interested in bands above a certain level, however well they make the transition.

Musical redundancy and occasional clangers also obscure the fact that Stipe continued to write some great lyrics till the end.

every album with Berry was above a certain baseline of quality, and every album without Berry was below a certain baseline of quality, so i'm inclined to give him credit as the x factor and figure that the beginning of the end was him leaving.

you can't really fault him for not being the same person as he was 15 years before, or for not wanting to continue to portray that image

Not trying to fault him at all, just saying that it's a part of what made me lose interest in the band.

In what way was Automatic not a peak?

It was on a major label. For a lot of people, that matters more than the music...

every album with Berry was above a certain baseline of quality

Not "Monster" and "New Adventures", no. Both horrible and the worst they've ever done. At that stage, they might as well have broken up when Berry left, because their then last albums were rubbish with hardly any value at all. A once wonderful melodic pop band trying to play alternative rock. Ugh!

and every album without Berry was below a certain baseline of quality

"Up" and "Reveal" were both great albums. The songs were better om "Murmur" and "Automatic For The People", but the production on those two albums (and "Around The Sun", which still sucked because they songs did) was the best of their entire output. The glossy and sophisticated production fitted them perfectly.

Bringing in Patti Smith was also a bad, bad, bad, bad idea. That woman has never ever made a decent record. She can't sing, she has no sense of tune. No value at all. And Stipe's own Sonic Youth-influenced speak-singing on "E-Bow The Letter" added to the disgrace that was R.E.M's worst ever single.

Wait, who upthread called these guys genre tourists? Everything they did fit pretty comfortably within the world they created, I think, and R.E.M. from one extreme was not terribly different or unrecognizable from R.E.M. at the other extreme. And like the best band, the personalities of the principals never failed to shine through in any context. Which is why there was such a drop off when Berry left.

geir bomb

They have revisited every single one of their genre exercises later in their career, except for their early jangle pop. Which is a shame in the latter case, really.

Bringing in Patti Smith was also a bad, bad, bad, bad idea. That woman has never ever made a decent record.

coulda sworn she'd done some cover you'd be down with

New Adventures is terrific but it feels very much like a band that isn't quite sure where to go next and is almost self-consciously recording a greatest hits full of new songs.

Up is patchy but at least an interesting direction and they manage the transition to synths well without looking like twats, some great songs on there as well - You're In The Air, Parakeet, Falls To Climb, a handful more.

From then on it's mostly awful - Accelerate has its moments but feels like a band on complete autopilot.

Think my favourite REM moment was seeing them play Cuyahoga at Glastonbury 99 and thinking "of course!"

"Acellerate" was a huge step in the right direction after two way-below-par albums. A lot of it sounds like "Automatic For The People", which is not the worst thing to sound like.

They totally revisited jangle pop.

https://www.youtube.com/watch?v=_pd0Qq_kRU4

But if you meant jangle-pop minus the post-punk jitters, than sure.

Then.

"Acellerate" was a huge step in the right direction after two way-below-par albums. A lot of it sounds like "Automatic For The People", which is not the worst thing to sound like.

Have you actually listened to it? At least the first half of Accelerate is one big slab of New Adventures Style Rock, admittedly with 80s REM songs underneath.

I'm sure Geir would like "Because the Night"...

New Adventures is terrific but it feels very much like a band that isn't quite sure where to go next and is almost self-consciously recording a greatest hits full of new songs.

Yep. I like nearly all the songs on it, but even at the time it felt like REM were sort of losing their grip. It didn't feel like the sort of album "statement" that was Automatic For The People, or even Monster. And yet the quality was VERY high.

Imitation Of Life was the point where I felt they just started to get pretty annoying.
E-Bow The Letter wrote the rulebook for releasing the 'experimental' first single, a la 'Pyramid Song', because the band assumes they just can. The actual music itself is nice enough, but both vocal parts from Stipe & Smith make me cringe. Unbelievably, they attempted an 'E-Bow II' with the closing track of their last album.

I still like Electrolite, At My Most Beautiful, Tongue, Nightswimming etc - they all teeter a little close to the saccharine, but I just ignore that.

I liked "Man on the moon" until I discovered it was basically a list of Andy Kaufman's catchprases.

and "Answers from the great beyond" was more of the same.

"Imitation" was pretty good.

Dunno, did I ever buy an REM record? Lemme.....

I got the 7" book edition of "Reveal" cheap in Fopp back when it opened, not actually felt moved to play it. And a CD single that had a "wonder what that sounds like?" cover version on it.

I've talked about this before, but I came to R.E.M. through a totally different path than most itt seem to have taken. I was too young for the IRS years and completely turned off by the novelty type songs that pop radio latched on to in the latter half of the 80s. I mean, I understand its my fault for not grasping context, but I thought of them as a silly band that did stuff like "Superman", "Stand", and "Shiny Happy People" all the time. Retroactively fell in love with Automatic via a tape stuck in the pizza delivery vehicle I drove the summer of 94. So Monster was the first R.E.M. album that seemed like any kind of event for me and I loved it. I still think its unfairly regarded, I think it was an interesting (if oft-flawed) take on glammed-up grunge and alt-rock radio anthems. New Adventures quickly became, and remains, my favorite R.E.M. album, just love the breadth and chance-taking.

What was the one about pushing an elephant up the stairs? That was a shark-jump moment in my eyes.

Night Swimming puts me in mind of an evening our family had with a friend of my dad's family, drinking and swimming on a very warm evening at their huge place. Totally brilliant evening.

6 months later, the father had died in very mysterious circumstances. The next time I saw them was the funeral, and shortly afterwards the rest of the family went to live in scotland.

Sometime, truth resembles some sort of fiction.

Anyway, back to the jollity...

I used to tape highlights of music TV onto VHS, onr of the last ones I did had REM on TOTP for the first time with "Orange Crush". The presenter fed out of the performance with "Very refreshing on a hot day, that was REM with "Orange Crush"....

Bring back DLT, we all said.

Heres my challopsy ranking:

New Adventures in Hi-Fi
Automatic for the People
Monster
Murmur
Fables
Up
Lifes Rich Pageant
Accelerate
Document
Reckoning
Out of Time
Collapse Into Now
Green
Reveal
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