AUTOMATIC FOR THE PEOPLE: MAN ON THE MOON

  The roots for this song, or at least the rhythm and feel, come from the song FALL ON ME.  It has a similar strum pattern and chord structure, but the similarities end there.  The track is a musing on heaven, death, and the game of life.  Stipe drops a lot of names here, but the use of Andy Kaufman ties  everything together nicely.  Andy was a comedian known for his surreal portrayals and even stranger life and didn't particularly cater to anyone.  His sudden switch from TV wunderkind to wrestling regular left a lot of people scratching their heads, and when he joked that he would fake his own death it ensured that when he did die, many would not let him go.  It is just this affinity we have for our celebrities and the fact that we would like the fairy tale of stars faking death so they can live in peace that makes Andy a perfect example for Stipe.  It is a play on everlasting life in the same way that people still spot Elvis Presley ... also mentioned in the song`as much for the famous Elvis-sightings as for Andy's portrayal of him.  We also visit the 70's Glam band Mott The Hoople who were left for dead before being resurrected by David Bowie with the song "All The Young Dudes".  Stipe and Buck are huge Glam Rock fans, but it could be that Stipe is referencing the novel as well, which was about a drifting rebel who tries not to be a conformist or 'Hoople'.  Fred Blassie was a wrestler who was featured in "My Breakfast with Blassie" ... a film in which Kaufman parodied the movie My Dinner with Andre.
  We also get religious symbolism with Moses, Darwin, St. Peter, and perhaps the curious word "agit."  This usage of the word is likely made up by Stipe.  The word agit is derived from Latin meaning to shake or stir, hence agitate.  It is used primarily in pharmaceutical situations and in context here could be to shake up the non believer, something posited to question ones lack of faith.  However, Stipe could have meant "agate" which is a small fragile quartz-like stone, or play marble that also was used to describe a stone high priests wore in the bible.  In Egypt, the asp was a symbol of the Pharoah's power over life and death.
  The song is one of their best known and was called "near-perfect" by an Allmusic review.  The band played the hell out of it live, and it sometimes swapped closing duties with ITEOTWAWKI as their big, live finale.  The song was played energetically live and honestly, I like it live better than the album.  The lyrics below have some changes from the official songbook, including the fact that Stipe never says "there's nothing up my sleeve" which he added to live versions.  I added the Perfect Square performance below because it really captures the live feel ... the crowd is crazy ... Stipe changes 'gall' to 'balls' and he uses the word 'cool' as he used 'crow' in the old song "Lightnin' Hopkins."


MAN ON THE MOON

Mott the Hoople and the game of Life

Yeah, yeah, yeah, yeah
Andy Kaufman in the wrestling match

Yeah, yeah, yeah, yeah
Monopoly, 21, checkers, and chess

Yeah, yeah, yeah, yeah
Mister Fred Blassie in a breakfast mess

Yeah, yeah, yeah, yeah
Let's play Twister, let's play Risk

Yeah, yeah, yeah, yeah
I’ll see you heaven if you make the list

Yeah, yeah, yeah, yeah

Now Andy did you hear about this one?

Tell me, are you locked in the punch?
Andy are you goofing on Elvis?

Hey baby, are we losing touch?
If you believed they put a man on the moon, man on the moon
If you believe there's nothing up his sleeve, then nothing is cool

Moses went walking with a staff of wood

Yeah, yeah, yeah, yeah
Newton got beaned by the apple good

Yeah, yeah, yeah, yeah
Egypt was troubled by the horrible asp

Yeah, yeah, yeah, yeah
Mister Charles Darwin had the gall to ask

Yeah, yeah, yeah, yeah

Now Andy did you hear about this one?

Tell me, are you locked in the punch?
Hey Andy, are you goofing on Elvis?

Hey baby, are you having fun?
If you believed they put a man on the moon, man on the moon
If you believe there's nothing up his sleeve, then nothing is cool

Here's a little agit for the never believer

Yeah, yeah, yeah, yeah
Here's a little ghost for the offering

Yeah, yeah, yeah, yeah
Here's a truck stop instead of Saint Peter's

Yeah, yeah, yeah, yeah
Mister Andy Kaufman's gone wrestling

(Wrestling bears)

Yeah, yeah, yeah, yeah

Now Andy did you hear about this one?

Tell me, are you locked in the punch?
Hey Andy, are you goofing on Elvis?

Hey baby, are we losing touch?
If you believed they put a man on the moon, man on the moon
If you believed there's nothing up his sleeve, then nothing is cool

(Nothing)

If you believed they put a man on the moon, man on the moon

(Man on the moon)
If you believe there's nothing up his sleeve, then nothing is cool

(Nothing)

If you believed they put a man on the moon, man on the moon

(Man on the moon)
If you believed there's nothing up his sleeve, then nothing is cool

(Nothing)

If you believed they put a man on the moon, man on the moon

(Man on the moon)
If you believed there's nothing up his sleeve, then nothing is cool

(Nothing)

  This is a comprehensive tab.  I decided to include the chords, mandolin, and slide.  The way these elements are layered on the track lend to its "near-perfect" sound.  Feel free to be a little loose with some of the slide as the song gets going ... 

MAN ON THE MOON

Intro/Verse

e|-0-0-0-0>0--0--0<0---|

B|-1-1-1-1>3-3-3-3<1---|

G|-0-0-0-0>0-----0<0---|

D|-2-2-2-2>4-----4<2---|

A|-3-3-0-3>5-----5<3---|

E|-0-3-0-0>0-----0<0---|

Slide Open

e|-----------------|

B|----5---7---5----|

G|-3>5-5>7-7<5-5---|

D|-----------------|

A|-----------------|

E|-----------------|

Slide Alt Verse (Asp Line)

e|--------------------------|

B|-8------7-----5-----------|

G|--7>9----7-2>5-5----------|

D|--------------------------|

A|-----5>7---------3-0------|

E|--------------------3>8---|

Mandolin Verse

e|-0---0>0---0<0---|

a|-3---3>5---5<3---|

d|-2---2>4---4<2---|

g|-0---0>0---0<0---|

Mandolin Verse (Final Pick)

e|---0--0--0--|

a|--3--5--3-3-|

d|-2--4--2----|

g|------------|

Bridge to Chorus

e|-0---3---0---3---0---3-0-2---|

B|-1---3---1---3---1---3-1-3---|

G|-2---0---2---0---2---0-0-2---|

D|-2---0---2---0---2---0-2-0---|

A|-0---2---0---2---0---2-3-----|

E|-0---3---0---3---0---3-0-----|

Slide Bridge

e|-------------------------------|

B|-------10<8-10----10<8-10------|

G|-----------9--9<7-----9--9<7---|

D|-8>10-----------0----------0---|

A|-----10------------------------|

E|-------------------------------|

e|----------------------|

B|----5----7-7-7>8<7----|

G|-----5----7-7-----7---|

D|-3>5--5>7-------------|

A|----------------------|

E|----------------------|

Mandolin Bridge to Chorus

e|-0---3---5-3-0--0---3-0-2-3-2-3-|

a|-0---2----------0---2-3-0-------|

d|-2---0------(x2)2---0-2-0-------|

g|-5---0----------5---0-0-2-------|

Chorus

e|-3---0---0---2---3---0---2---|

B|-3---1---1---3---3---1---3---|

G|-0---2---0---4---0---0---2---|

D|-0---2---2---4---0---2---0---|

A|-2---0---3---2---2---3-------|

E|-3---0---0---2---3---0-------|

e|-3---0---0---2---0---0---|

B|-3---1---1---3---1---1---|

G|-0---2---0---4---2---0---|

D|-0---2---2---4---2---2---|

A|-2---0---3---2---0---0---|

E|-3---0---0---2---0---0---|

Slide Chorus

e|------------------------------------------|

B|-----------12<9--------8<7----------------|

G|---------------9----------7---------------|

D|-3>5>7>10<9-----3>5<2>4----3>5>7>10<9<7---|

A|------------------------------------------|

E|------------------------------------------|

Mandolin Chorus

e|-3-0-0-0-3-0-2-3-2-3-|

a|-2-0-3-5-2-3-0-------|

d|-0-2-2-4-0-2-0-------|

g|-0-5-0-4-0-0-2-------|

Middle Bridge

e|-0---2---|

B|-0---3---|

G|-0---2---|

D|-2---0---|

A|-2-------|

E|-0-------|

Middle Bridge Slide

e|---12----------------12-------------------|

B|->12-12--7-8-7----->12-12--7--7--7-8-7----|

G|--------------7-------------7--7------7---|

D|------->7---------------->7--7--7---------|

A|---------------(x2)-----------------------|

E|------------------------------------------|

Mandolin Middle Bridge

e|-0---2-3-2-0-|

a|-2---0-------|

d|-2---0-------|

g|-0---2-------|

End on Em

AUTOMATIC FOR THE PEOPLE: STAR ME KITTEN

    This is likely one of those tracks that were given to Mr. Stipe without any inkling that he would be able to write lyrics for.  According to the band, Meg Ryan helped name this song.  After she heard it she said any song with the word "Fuck" in the title would be off limits growing up.  So the band cleverly disguised the curse with the word 'star' as opposed to the more traditional star symbol for curse words.  There are two sides to the interp here ... Mike claims that it's about a relationship that is on the rocks, but the "Fuck me" at the end is literal ... The song itself seems to steer toward the figurative in that the relationship is very over.  Peter has the best quote ... as always:
  "It's a real perverse love song, demented, but it's an endearing term.  It's not about cats."
  Incidentally, there is a great video on You Tube of the band playing the song live over the end credits of the video Parallel (http://youtu.be/e-aY4np3zJ4).  In it, Michael actually uses the Automatic song book, but sadly the embed feature is off.  

STAR ME KITTEN

Keys cut 3 for the price of 1
Nothing's free but guaranteed

For a lifetime's use
I've changed the locks
And you can't have one
You, you know the other two

The brakes have worn so thin that you could hear
I hear them screeching through the door

From our driveway
Hey love, look into your glove-box heart
What is there for me inside?

This love is tired
I've changed the locks

Have I misplaced you?

Have we lost our minds?
Will this never end?
It could depend on your take

You

Me

We used to be on fire
If keys are all that stand between
Can I throw in the ring
No gasoline
Just fuck me kitten
You are wild and I'm in your possession
Nothing's free

So fuck me kitten


  This song is just one long riff.  Very easy to play.  Peter seems to play it a little different on the end credit sequence at the end of "Parallel" but I find the below easiest ... 

STAR ME KITTEN

Part 1

Open/Post Bridge

e|------------------------------------------|

B|------------------------------------------|

G|-4>5>7-7-7-7>9(<7-)7-9h-7-----7-9h-7------|

D|-------------------------7<5-5------7-5---|

A|------------------------------------------|

E|------------------------------------------|

Part 2

Chorus/End

e|------------------------------------|

B|-->10-8->10-8------>10-8------1>3-5-|

G|-7-----7-----9-7--7-----5-8-7-0-----|

D|----------------10------------------|

A|------------------------------------|

E|------------------------------------|

Part 3

Bridge

e|--5-3-0---5<3-0---------|

B|-1-----4-5-----1---4-3--|

G|----------------x3------|

D|------------------------|

A|------------------------|

E|------------------------|

AUTOMATIC FOR THE PEOPLE: IGNORELAND

  I'm still not sure about why this song works on AFTP.  The over production and electric nature of the song shouldn't work at all with the dark tones of the rest of the album.  The straightforward railing at the Republican takeover of Washington after Jimmy Carter clashes drastically with the vague melancholy of the rest of the album.  Upon first listen it is a slapdash venting of public liberal grievances that is more than slightly off-putting.  R.E.M. was a band unafraid of political songs, but in the past tended toward metaphors and allusion. The balance of "Exhuming McCarthy" is gone here and replaced with Mr. Stipe's rant and rail against the Reaganism that helped define the current Republican Party.  Perhaps it fits because there is a wistfulness of something lost, or as the first line puts it ... stolen.  I personally have liberal views, but this song at times is very harsh.  Plus the title, IGNORELAND, is rather trite ... almost cringe-worthy.
  But the song works.  It's upbeat, interesting because it stands out from the album, and lively because it banks on the good will the rest of the album affords it.  Stipe's near apology at the end is almost him saying: well, sorry about this one, but let's be honest ... "Everybody Hurts" let's me get away with it.
  The band, understandably, was not totally pleased with the production value of the track and it's place on the album; but in the end here it is warts and all.  In fact, Stipe flubs the lines a couple of times and the stumbles are kept ... note the parenthetical "c" and the phrase: "If they wasn't there ... "  although the latter could be a sly take on American's disregard for proper use of tense.  The spoken outro at the end is pretty much my best guess on the line coming out of the last chorus.  With the "yeah's" it's almost completely indecipherable.
  I have added a live version below because after many years, they found joy in the song again ... even if they did change the octave to suit Stipe.

IGNORELAND

Bastards stole their power from

The victims of the us v. them years
Wrecking all things virtuous and true
The undermining social democratic downhill slide into abysmal
Lost lamb off the precipice into trickle down runoff pool

They hypnotized the summer

1979
Marched into the capital

Brooding duplicitous, wicked and able, media ready, heartless
And labeled super U.S. citizen, super achiever
Mega ultra power dosing

Relax
Defense, defense, defense, defense

Yeah, yeah, yeah
(Yeah, yeah, yeah)

Ignoreland

(Yeah, yeah, yeah)

Ignoreland

The information nation took their clues from all the sound bite glutton
1980, 84, 88, 92 too … too
How to be what you can be, jump jam junking your energy
How to walk in dignity with throw up on your shoes

They (c)amplified the autumn

1979
Calculate the capital

Up the republic

My skinny ass T.V. tells a million lies

The papers terrified to report
Anything that isn't handed on a presidential spoon
I'm just profoundly frustrated by all this

So, fuck you, man …  fuck ‘em
(Yeah, yeah, yeah)

Ignoreland

(Yeah, yeah, yeah)

Ignoreland

If they wasn't there we would have created them

Maybe it is true
But I'm resentful all the same

Someone's got to take the blame

I know that this is vitriol

No solution

Spleen-venting
But I feel better having screamed

Don't you?

They desecrate the winter

1979
Capital collateral

Brooding duplicitous, wicked and able, media ready, heartless
And labeled super U.S. citizen, super achiever
Mega ultra power dosing

Relax
Defense, defense, defense, defense

Yeah, yeah, yeah
(Yeah, yeah, yeah)

Ignoreland

(Yeah, yeah, yeah)

Ignoreland

(Yeah, yeah, yeah)

Ignoreland

(Yeah, yeah, yeah)

That paper’s not on the record

I didn’t do the revolution … thank you … 


  This is a very electric song.  there are some very long held sustained notes and feedback that I did not put below.  I tried to use chords that were more in the spirit of the song.  Plus, there are a number of ways to play the notes and chords that sound correct.  I play it as follows:


IGNORELAND

Intro/Chorus Chords with riff

e|-0---0---0---0---0---0------------0---|

B|-6---8---6---6---6---8---6-8<1-3--3---|

G|-7---7---7---7---7---7----------0-2---|

D|-0---0---0---0---0---0------------0---|

A|-0---0---0---0---0---0------------0---|

E|-0---0---0---0---0---0------------0---|

Verse Chords

e|-0---0---3---0---|

B|-3---1---3---0---|

G|-2---0---0---0---|

D|-0---0---0---2---|

A|-----3---2---2---|

E|-----0---3---0---|

Verse Fill

e|----------------------------------|

B|----------------------------------|

G|----------------------------------|

D|-0-5h-5-5-4h-0---0-5h-5-5-4h-0-7--|

A|--------------0-------------------|

E|----------------------------------|

Bridge to Chorus Chords

e|-0---0---|

B|-1---3---|

G|-0---0---|

D|-0---0---|

A|-3---5---|

E|-0---0---|

Bridge to Chorus sustained notes

e|---------|

B|---------|

G|-5-5>7---|

D|---------|

A|---------|

E|---------|

Middle Bridge

e|-0---0---1---0---|

B|-1---3---3---2---|

G|-0---0---3---2---|

D|-0---0---3---2---|

A|-3---2---1---0---|

E|-0---0---1---0---|

Middle Bridge sustained notes

e|-------------------------|

B|-------------------------|

G|-7---4---7-7b-7-7b-7-6---|

D|-------------------------|

A|-------------------------|

E|-------------------------|