NEW ADVENTURES IN HI-FI: NEW TEST LEPER

  The character in this song comes from when Stipe was a little hung up on lyrics for this piece and found himself watching a daytime talk show. He wondered if the tragedy of these shows was if someone was really trying to communicate something meaningful to the audience, they would be overlooked or not heard. This could also be a reflection or result of the band touring and being interviewed over and over again, and if you watch some of the interviews the band seems exasperated by the inanity of the sessions. If a rock band really has something to say, would anyone really listen or care? Particularly if the music was bombastic and easy to digest? This is a really lovely song and has some great wordplay, the lyric sheet is actually featured in the video for the song and I've added some of the hey's, but most of this is straight from there. The concept of healing the lepers is brought into the psychological realm in this song by focusing on the needs of the self and of a character needing to be emotionally saved over physically saved. Healing the scars that are unseen is more difficult to measure or quantify than the healing of physical ailments, so could this be the new test of the title?



NEW TEST LEPER

I can't say that I love Jesus
That would be a hollow claim
He did make some observations
And I'm quoting them today
“Judge not lest ye be judged”
What a beautiful refrain
The studio audience disagrees
Have his lambs all gone astray?

Call me a leper

Ay, ay, hey
Call me a leper

Ay, ay, hey
Call me a leper

Ay, ay, hey

Mmmm

“You are lost and disillusioned”
What an awful thing to say
I know this show doesn't flatter
It means nothing to me
I thought I might help them understand
But what an ugly thing to see
-I am not an animal-
Subtitled under the screen

Call me a leper

Ay, ay, hey
Call me a leper

Ay, ay, hey
Call me a leper

Ay, ay, hey

Mmmm

When I tried to tell my story
They cut me off to take a break
I sat silent five commercials
I had nothing left to say
The talk show host was index carded
All organized and blank
The other guests were scared and hardened
What a sad parade

What a sad parade
Call me a leper

Ay, ay, hey
Call me a leper

Ay, ay, hey
Call me a leper

Ay, ay, hey

Mmmm

Mmmm

  This is about as fun and creative a song to play in these MONSTER/ HI-FI years and it sounds great acoustically. The picked part in the Chorus can also be strummed as chords, so remember that the pick is based around chord formations. The last chord is satisfying, but I suspect on the album is actually simpler ... what I have here is a nod to the bass note as well ... 

NEW TEST LEPER

Verse

e|-5---0---0---0>0----|

B|-7---5---3---3>5----|

G|-7---6---4---4>6----|

D|-0---7---5---5>7----|

A|-0---0---0---6>0----|

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

2^nd time through hold on G

Chorus

e|---------------5--------0-----|

B|---2--3----5--7----5---3-3----|

G|--2--2----4--7----6-6-4---4---|

D|----4--4>6-------7---5--------|

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

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

Chorus (Last time through)

e|---------------5--------------|

B|---2--3----5--7----5-5----5---|

G|--2--2----4--7----6-6--6-7----|

D|----4--4>6-------7----7-------|

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

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

Lead

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

A|-0-0-2h---0-2h-0----------------2-|

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

A|-0-2h-0----------------0-0-|

Last Chord

e|-0--|

B|-0--|

G|-2--|

D|-0--|

A|-2--|

E|-0--|

NEW ADVENTURES IN HI-FI: THE WAKE-UP BOMB

  This was the first song I heard by R.E.M. that I flat out did not like. The first time I heard it was at the MTV Music Video Awards and after re-watching this performance it is obvious that the song is just not in Bill Berry's wheelhouse. The performance is slow and it seems to get slower as it progresses. In further 1995 performances the song is just as plodding which turns a questionable song into a boring, bad set killer. The video I've added is actually from a later tour and it is the song on speed which starts to do it some justice.
  Lyrically, the song feels juvenile: 'My head's on fire and high esteem?' There are a number of things wrong with that statement, plus Stipe seems to have hit a wall on the first person journey that began with MONSTER, before he wouldn't commit to songs from the singer's perspective and now he can't stop saying 'I.' I can't help but wonder if NAIHF would've been stronger without this one--maybe give it to a Batman movie like REVOLUTION.

THE WAKE-UP BOMB

I look good in a glass pack
I look good and mean
I look good in metallic sick wrap around blackout tease
I scud along the horizon

I drink some sweet tree tea
I get high in my low ass boot cut jean
I like being seen
I look good in my drink eat no sleep

Take a leap longevity
I get high on my attitude 

Latitude 1973
I'm in deep

My head's on fire and high esteem
Carry my dead bored been-there done-that

Anything

Oh, the wake-up bomb
Oh, the wake-up bomb
Oh, the wake-up bomb
Oh, the wake-up bomb

My head's on fire and high esteem
Get drunk and sing along with Queen
Practice my T Rex moves and make the scene
Carry my dead bored been-there done-that

Anything

I had to knock a few buildings over
I make an ugly mess
I had to blow a gasket
Drop transmission
I had to decompress
I had to write the great American novel
I had a neutron bomb
I had to teach the world to sing by the age of 21
I wake up

(Wake up)
I wake up

(Wake up)
I threw up when I saw what I'd done

Oh, the wake-up bomb
Oh, the wake-up bomb

My head's on fire and high esteem
Get drunk and sing along with Queen
Practice my T Rex moves and make the scene
I'd rather be anywhere doing anything

I've had enough, I've seen enough, I had it all, I'm giving up
I won the race, I broke the cup, I drank it all, I spit it up

Again!
I've had enough, I've seen enough, I had it all, giving up
Won the race, I broke the cup, drank it all, spit it up

Yeah atomic

Supersonic
What a joke

I'm dumb
See ya

Don't wanna be ya
Lunch meat

Pond scum

My head's on fire and high esteem
Get drunk and sing along with Queen
Practice my T Rex moves and make the scene
I'd rather be anywhere doing anything
Yeah

I'd rather be anywhere doing anything
Yeah

I'd rather be anywhere doing anything

Yeah

(Alright)

  So easy. Play loud. I love ending on the F chord.

THE WAKE-UP BOMB

Verse

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

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

G|-9---7---6---4-|

D|-9---7---7---5-|

A|-7---5---7---5-|

E|-0---0---5---3-|

Chorus

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

B|-5---3---5---3-5--3------3--|

G|-5---4---5---4-5--2---------|

D|-5---5---5---5-5--0---------|

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

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

Play C to bridge to Verse

Lead

e|--12--10----------|

B|----12----14--12--|

G|------------14----|

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

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

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

End on F

  

NEW ADVENTURES IN HI-FI: HOW THE WEST WAS WON AND WHERE IT GOT US

  There's something invitational about this song that compliments the final song ELECTROLITE and is wonderfully non-intrusive. WEST allows you to settle into the album before the next song punches you in the face. There's a lot of great imagery here, some religious and some based on concepts of western 'civilization.' Perhaps the band in touring through the US and then the world is uniquely situated to report on how everything is misguided and how isolated we really are here in the states. Or maybe this is Stipe using his talent for capturing imagery like a photographer and piecing it together. Or maybe he's just saying some stuff that sounds cool. In any event, this is a solid beginning to the pastiche that is NAIHF.

HOW THE WEST WAS WON AND WHERE IT GOT US

Blood from a stone

Water from wine
Born under an ill placed sign
A stroke of bad luck

Wrong place, wrong time
This flyer is out of line

The story is a sad one

Told many times
The story of my life in trying times
Just add water

Stir in lime
How the west was won and where it got us
Ah!

Canary got trapped in the uranium mine
I struck bad luck now the bird has died
A marker to mark where my tears run dry
At the crossing of blessed and alkaline

The story is a sad one

Told many times
The story of my life in trying times
Just add water

Stir in lime
How the west was won and where it got us
Ah!

I didn't wear glasses cause I thought it might rain
Now I can't see anything
I made a mistake chalked it up to design
I cracked through time space godless and dry
I point my nose to the northern star
Watch the decline from a hazy distance

The story is a sad one

Told many times
The story of my life in trying times
Just add water

Stir in lime
How the west was won and where it got us
Ah!

  A very simple song guitar-wise as it relies on the organ/piano/bass. I didn't tab out the keys as it's basically variations on Bm and G for the verse and the chorus follows the guitar notes. If any song points to their lives after this album it's this song.

HOW THE WEST WAS WON AND WHERE IT GOT US

Intro/ Verse

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

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

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

D|-4-2p-4----4-2-2-4h-------|

A|-------------------0-0-2h-|

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

Chorus

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

B|-3---3---3---0-------3---2-|

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

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

A|---------2---2---x3------0-|

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

Feel free to walk up to the Bm from the A with a Bbm

In the Middle Bridge, Buck uses the strings below the guitar bridge as in Strange Currencies, but strummed

Intro to New Adventures in Hi-Fi

  This album is a turning point for the band. As different as MONSTER is from the rest of their previous catalog, and UP is their first as a three piece, NEW ADVENTURES is a convergence--of sound, of songwriting, and of stardom. Here is a do it yourself touring band that then found a home in the studio and then tried to recapture the tour aesthetic only to be beaten up on the road--Berry's aneurysm, Stipe's hernia, Mills' abdominal issues--and in the process the band tries to do both at the same time, touring and recording. There are clips of Peter Buck talking about recording before they embark on the tour and when I saw the band live during the first leg, they were already playing UNDERTOW, DEPARTURE, and REVOLUTION, so this was definitely the plan going in. The result is a mix of crunchy arena echo sounds with pulsing organ and bellowed vocals, to subdued studio magic--kind of AUTOMATIC mixed with MONSTER.
  If there is one theme to the album it is travel or movement and can you blame the group? R.E.M. launched the longest tour of their tenure and its most ambitious, so as they're putting together tracks how could the motion of the road not sneak into the album? Another theme seems to be the investigation of the strangeness of the rock and roll lifestyle, and the media's portrayal of the same. There is a grandeur and a grittiness to the album that is especially evident on the second half with BITTERSWEET, BINKY, and LOW DESERT. The band also seems more open to experimentation--perhaps due to their tour partners Radiohead--whose influence crosses over into their first albums as a three piece.
  This album is also Berry's swansong and the difference between this album and the albums yet to come is stark, as I listen to UP the veto power the band enjoyed kept coming up in my mind and I wondered if that album would've been shorter. However, NEW ADVENTURES is long by at least two tracks not necessarily because of song quality, but because of similar variations on a theme, so what exactly is the influence of Berry on this album? He wrote the song LEAVE which is telling, but I always thought this or DEPARTURE should be here and maybe not both. In any case, this album feels exhausting, it feels like you've traveled thousands of miles after listening and it's so rich and multi-layered that it invites revisiting.
  The singles released perplexed me at the time and made me think that the band really didn't know how to promote themselves, or maybe the record company led them a certain way. E-BOW was probably the exact wrong song to release first as it fits the context of an album, but on its own is hard to digest. Also, playing WAKE UP BOMB on the MTV Awards was a bad choice as in my opinion it is their worst song ... ever. More on that later. Almost anything on the second half of the album would've been more interesting to release first. NEW ADVENTURES was also the beginning of the band doing better in the International over the American market and the focus of their future albums and tours reflects this, in fact the album did worse in the US than anywhere else even with critical praise. The US mass culture just did not jump on it and because of the alienation from MONSTER to old fans, the alienation of this album lost a bunch more.
  These tracks are unlike anything R.E.M. ever did and that is its value. The band took risks and threw everything they had in here which at time transcends, but it also clunks at times. It's a beautiful, ugly, sprawling album that I'm sure Berry is proud that it was his last. Tracking R.E.M. through this album from MONSTER and its differences simply puts the next three albums in perspective, if this album made fans pause then just wait for UP.
  

MONSTER: YOU

  Here we are at the end of MONSTER and one of my all time favorite songs. Allegedly, the band stopped playing it after Michael had surgery for a hernia he got through "hard singing." I have no doubt that YOU involves hard singing, but surely they've adjusted songs before when notes and harmonies couldn't be hit--it's a shame this one went on the live scrap heap. This song is the perfect wrap to an album where Stipe explored perversity and sexuality by dealing with obsession. The only question with this "monster" is whether this is a one sided obsession or one that is requited. As for the lyrics, they don't really shed light on the reciprocity of the relationship as most of the personal details are in the verse that is a dream. This is Stipe at his most poetic, particularly because he is not trying to cram too many words and meanings into the narrative, but letting the music guide him. Plus, the choral quality of the last word of the album just gives it a nice final bow.
  The lyrics in the 25th Anniversary definitely helped here in some ways and are wrong in others. The most confounding line is in the lyrics where Michael has 'Shout out the Moon' which I think is revisionist. In the remastered recording you can make an argument, but in the remix and live versions it's closer to what I had originally and now I stand by 'child balloon.' In addition, in the lyric sheets he changes the 'ring' around to 'wing' around? Saturn smile? Way to take a brilliant play on words and change it in print for no reason.

YOU

Let the sun beat through the clouds
Let me kiss you on the mouth
All my childhood toys with chew marks in my smile
Let me hold your syrup close to mine
And I want you Hollywood and Vine
And I watch you like the movies

Touch me now

I love you crazy

Just keep on
I love you madly

Just keep on
You wipe my lips
You turn me on
My attentions are turned to you

Did I dream you were a tourist in the Arizona sun?
I could see you there with lunar moths and watermelon gum
I woke up in the sleeping bag with nowhere else to run

(Nowhere else to run)
You're standing in the bathroom telling me it’s all in fun

No
I love you crazy

Just keep on
I love you madly

Just keep on
You wipe my lips
You turn me on
My attentions are turned to you

I can whisper in your ear
I can write a calendar year

(Write a calendar year)
I can ring around your Saturn smile your child balloon

I walk the tension wire line
And I learned to disrespect the signs
And I want you like a Pisces rising

Key the moon

I love you crazy

Just keep on
I love you madly

Just keep on
You wipe my lips
You turn me on
My attentions are turned to you

You

You

You



  This is a frighteningly easy song, but rhythmically intricate. The timing is crucial, so playing along with the song a couple of times to get it right is the key. The bend from the chorus of ITEOTWAWKI (AIFF) makes a reappearance. Also, at the end of the chorus, feel free to walk up to the D from the C although this is done with the bass and keyboard on the track. I'm conflicted on the chorus because in the studio there are two guitars (at least) happening, but live you can play the bend by switching the finger on the b-string which also keeps the rest of the C chord in tact so that's what I have below.

YOU

Verse

e|-0--------------0-6---6-6-0-0-0--0---0-3--|

B|-3--------------3-6---6-6-0-3--3-3---3-3--|

G|-2---0-2h0p--0--2-7---7-7-0-2----2---2-2--|

D|-0---------3h-0-0-----------0----0---0-0--|

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

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

Chorus 

e|-0---0--|

B|-1---5b-|

G|-0---0--|

D|-2---2--|

A|-3---3--|

E|-0---0--|

MONSTER: CIRCUS ENVY

  I can't say enough how much I enjoy the last two songs on MONSTER. There's something monstrous about jealousy and obsession that ties these two songs together at the end as perhaps the most troubling character songs on the album. Also, because of the seriousness of LET ME IN, these two songs are a welcome return to depravity--if that makes sense. This one in particular by tying the relationship to circus and carnival metaphors it conjures up feelings of training, captivity, and obedience. Plus the heavy bridge of being mean and teasing leads the song down some dark, dependent paths.
  So many errors in the lyrics in the 25th Anniversary printing. 'Pyro?' 'Telescope hid?' No. There's definitely revision happening and listen, the words are what he says they are--but they're not what's on the recording! Both remastered and remixed versions as well as live shows bear the lyrics below out. Why go on an interview tour decrying online lyrics (okay, some are much worse than mine) when you yourself are getting them incorrect?

CIRCUS ENVY

Here comes that awful feeling again
Welcome the ugly animal
I hold my breath to watch you swing
My high rope acrobat ball and chain
I'm not a freak

I messed it, messed it, messed it, messed it up

I've got my telescope head in the haystack
I'm getting tired of your dodge ball circus act
Put pepper in my coffee I forgot to bark

On command

Here comes that awful feeling again
Make way for monster jealousy
The strong man kicked sand into my breakfast cereal bowl
I'd spelled your name with Oatios
He messed it, messed it, messed it, messed it up

I've got my telescope head in the haystack
I am tired of your dodge ball circus act
Put pepper in my coffee I forgot to bark

On command

You mean, mean, mean
You tease, tease, tease me

If I were you I'd really run from me
I really really wish that I were you
When I get loose I'll climb a tree and drop a load on your head
This monster in me makes me retch

You messed it, messed it up

I've got my telescope head in the haystack
I am jealous of your dodge ball circus act
Put pepper in my coffee I forgot to bark
Put pepper in my coffee I forgot to bark

On command

You mean, mean, mean
You tease, tease, tease me

Do you smell jealousy?
Do you smell jealousy?

Jealousy

Jealousy


  Great fuzzy guitar on this one. I particularly like the middle bridge with its open chord and walkdown which is powerful, surprising, and pleasing all at once. Be sure to use the open G-String on the power chords to give the song a little bit of an 'off' sound. It was brought to my attention below that the verse likely has an open d string which pretty much ties my guitar 1 and 2 together, so I've put the option down. The chorus and bridge would be easy to find from there if you like tuning down! In later live shows, Peter plays more of a power chord on the 10th fret which does the same thing, but is a bit lazier. The second guitar here is on the recording to follow the bass line, but it goes away for the live shows.

CIRCUS ENVY

Verse Guitar 1

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

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

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

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

A|------------------------8-------|

E|-10-10-8-10---10-10-8-10-10-8---|

Verse Guitar 2

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

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

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

D|-----------------3------|

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

E|-5-5-------5-5----------|

Verse Guitar 3 (Dropped d option)

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

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

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

D|------------------3-----|

A|-0-0-3-5---0-0-3-5-5-3--|

D|-0-0-0-0---0-0-0-000-0--|

Chorus

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

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

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

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

A|-7---5---|

E|-5---3---|

Chorus Slide

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

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

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

D|-----------5-7>9-7--|

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

E|-3-5>7-5------------|

Middle Bridge/ Outro

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

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

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

D|-0---3---7--10---0---3---5---7--------|

A|-0---3---7--10---0---3---5---7-----3--|

E|-0---1---5---8---0---1---3---5--5-3---|

MONSTER: LET ME IN

  During the recording of MONSTER, Michael Stipe was blindsided with the deaths of his friends River Phoenix and Kurt Cobain. He dedicated the album to River, and this song is a direct plea to Cobain based on conversations Stipe had with the troubled singer. In fact, during the recording of MONSTER Stipe shared some of the raw tracks with Cobain and they talked about music and the possibility of collaborating on a film soundtrack. After Cobain's suicide multiple members of the band commented of the triviality of recording and releasing a rock album in light of an event that literally changed the lives of close friends. Michael claims that he didn't want to write this song--particularly since AUTOMATIC was almost entirely about loss, but that it just came out: "I had to express the frustration I had." Standing by 'with our hands' vs 'lift our hands' from the lyrics in the 25th Anniversary lyrics.
  The video below is a great promo with the band talking about where the song comes from.



LET ME IN

Yeah all those stars drip down like butter

And promises are sweet
We hold out our pans with our hands to catch them
We eat them up, drink them up

Up, up, up

Hey

Let me in
Hey

Let me in

I only wish that I could hear you whisper down
Mister Fisher moved to a less peculiar ground
He gathered up his loved ones and he brought them all around to say goodbye

Nice try

Hey

Let me in

Yeah, yeah, yeah
Hey

Let me in

Let me in

I had a mind to try to stop you

Let me in

Let me in
But I've got tar on my feet and I can't see
All the birds look down and laugh at me
Clumsy, crawling out of my skin

Hey

Let me in

Yeah, yeah, yeah
Hey

Let me in

Hey

Let me in

Yeah, yeah, yeah
Hey

Let me in

Let me in


  This one is all the work of Mike Mills playing on Cobain'e guitar re-strung for a right handed player.  The chords are very basic and distorted to within an inch of their lives. I remember watching Mills attack this one live onstage as if he were channeling music itself.

LET ME IN 

Verse

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

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

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

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

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

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

Chorus

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

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

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

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

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

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

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

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

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

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

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

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

Go to D before last Verse

MONSTER: I TOOK YOUR NAME

  Another easy arena rocker from the group. This was the first song I ever saw the band play live as it was the opening song for most of the MONSTER tour, although it alternated with KENNETH. The song is the perfect warmup for the band and a loud fast paced rocker for the audience. Vocally I don't know what was going on with Michael in the studio, but he was tripping all over the lyrics. They become clearer as they played the song live, but if you match up what's below to MONSTER there are some questions. Perhaps he should've done another take, but flubs lead to the impenetrable mystique of the band so why not leave them? I like to think of this as the last song in the trilogy starting with TONGUE which starts with shame, moves to blame, and here we have failure and acceptance as the narrator takes responsibility. However, when playing the song live, Stipe would indicate that the rest of the band shares in the blame--what is it they're to blame for? Maybe this arena rock album, but they have gladly put on the outfits (Mike Mills gleefully so) of huge rock band after a long absence from touring. Also, who wouldn't want to be Iggy Pop?
  Still stand by 'Circuit's Mind' vs 25th Anniversary 'Circuit's Wide.'

I TOOK YOUR NAME

I wore the clothes you wanted
I took your name
If there is some confusion 
Uh, who's to blame

I signed your living will
I smiled your face
I'm ready to close the book on NASA in outer space

If there is some confusion 
Uh, who's to blame
Uh, who's to blame

I sequenced your arrival
I sealed your fate
I pushed the button and erased your master tape

I wrote the sales pitch
I threw the brake switch
I dragged your big ass daddy roth car out of that ditch

If there is some confusion
Uh, who's to blame
Uh, who's to blame
 
I crossed your great divide
I stirred your ocean's tide
I called your bluff until I blew your circuit’s mind

I'll be your albatross
Devil, dog, Jesus, God
I don’t wanna be Iggy Pop but if that's what it takes

Hey

If there is some confusion
If there is some confusion
If there is some confusion 
Uh, who's to blame
(Some confusion)

Uh, who's to blame
(Some confusion)

Uh, who's to blame

(Some confusion)
(Some confusion)

  I only have one thing to say. So easy. So much fun.

I TOOK YOUR NAME

Intro

e|-0---|

B|-0---|

G|-9---|

D|-9---|

A|-7---|

E|-0---|

Verse

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

B|-0-0-0-0>0---0---|

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

D|-7-7-7-7>9---9---|

A|-5-5-5-5>7---7---|

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

Chorus

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

B|-0---0---0-0-0-0>0---0---|

G|-9---6---7-7-7-7>9---9---|

D|10---7---7-7-7-7>9---9---|

A|10---7---5-5-5-5>7---7---|

E|-8---5---0-0-0-0>0---0---|

Chorus Lead

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

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

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

D|-7-9------------9-7-7-9h---|

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

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

Middle Bridge

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

B|-0-0-0-0>-0----0---0-0-0-0>0---0---|

G|-9-9-9-9>11---11---7-7-7-7>9---9---|

D|-9-9-9-9>11---11---7-7-7-7>9---9---|

A|-7-7-7-7>-9----9---5-5-5-5>7---7---|

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

Middle Bridge Lead

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

B|-9b^---------------7b^---------|

G|---------11----------------9---|

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

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

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

MONSTER: BANG AND BLAME

  This track continues the sexual theme of MONSTER and is sort of a companion piece to TONGUE in that instead of acquiescing, the narrator of this song fights back. This is not a bad song, it's just lackluster and I was surprised that it was a song they made a video for. Once the band hit the road, the next track I TOOK YOUR NAME ended up becoming more of a favorite, but perhaps the bombastic directness of the song lent to its wider dissemination. That said, there are some great turns of phrase here, I mean: "The whole world hinges on your swings?" So good!

BANG AND BLAME

If you could see yourself now baby
It's not my fault
You used to be so in control
You're going to roll right over this one
Just roll me over let me go
You're laying blame
Take this as no, no, no, no, no

You

Bang, bang, bang, bang, and bang
Blame, blame, blame
You bang, bang, bang, bang, and bang
It's not my thing so let it go

If you could see yourself now baby
The tables have turned
The whole world hinges on your swings
Your secret life of indiscreet discretions
I'd turn the screw and leave the screen
Don't point your finger
You know that's not my thing

You came to

Bang, bang, bang, bang, and bang
Blame, blame, blame
You bang, bang, bang, bang, and bang
It's not my thing so let it go

Now

You've got a little worry
I know it all too well
I've got your number
But so does every kiss and tell
Who dares to cross your threshold
Or happens on your way
Stop laying blame
You know that's not my thing

You know that's not my thing

You came to

Bang, bang, bang, bang, and bang
Blame, blame, blame
You bang, bang, bang, bang, and bang
It's not my thing so let it go

You

Bang, bang, bang, bang, and bang
Blame, blame, blame
You bang, bang, bang, bang, and bang
It's not my thing so let it go

You kiss on me

Tug on me

Rub on me

Jump on me
You bang on me

Beat on me

Hit on me
Let go on me

You let go on me

  This is a pretty easy song to play and begins a string of songs to just turn up and let it rip to. The key here is when to use the open b and e strings and when to just rely on the power chords. You can play as 2-note power chords straight up, but below I filled out the G power chord below to cover the high g note in the song and added the A string notes for depth. I have also added the short interlude between songs here ... 

BANG AND BLAME

Verse: Same form picking and echoing Am-G

Although the 8^th fret B-string note is not necessary for pick

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

B|-0---8---|

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

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

A|-7---5---|

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

Chorus: A-C-A-G-A-C-B-Bb

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

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

G|-6----9---6---4---6----9---8---7---|

D|-7---10---7---5---7---10---9---8---|

A|-7---10---7---5---7---10---9---8---|

E|-5----8---5---3---5----8---7---6---|

Chorus into Middle Bridge

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

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

G|-6----9---6---4---6----9---8---8--8--8-|

D|-7---10---7---5---7---10---9-----------|

A|-7---10---7---5---7---10---9-----------|

E|-5----8---5---3---5----8---7-----------|

Middle Bridge

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

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

G|-9---8--------6---|

D|-9---9---x3---7---|

A|-7---9--------7---|

E|-0---7--------5---|

Interlude Bm

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

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

G|--4---4----|

D|-4---------|

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

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

MONSTER: TONGUE

  In a promo video for this song, Peter Buck points out that none of the songs on Monster are from Michael's personal point of view--they're all characters and that TONGUE is a woman. Peter deems this as the reason for the falsetto. I like to think of this song as I do much of Stipe's catalog--which is to say gender neutral. Say what you will about Stipe, but his consistent omission or skewing of gender labels (he, she) means that he can pull back from heteronormative stereotypes and focus on universal archetypes. He's not always successful, but there are usually beautiful and interesting results. This song is lovely in tune, but I can't get over its sad and haunting story. If this is an album full of monsters, and the voice here is female (the 'ugly girl' perhaps?) then the monster is the character 'she' is singing about. There is shame in sexual pleasure, but much of it is brought by our own actions, brought on by the pursuit of climax. So when that climax or fulfillment does not come, the shame remains and this character wishes to do away with everything superficial (vanity, makeup, poetry) and find something meaningful. However, the choruses end with a passive aggressive apology and acceptance.
  Personally, I think this song is brilliant and is one of the highlights of MONSTER. I enjoy contradictions that work well together and this song, for such a simple and short piece, is bursting from capaciousness. We shouldn't be ashamed of anything we do. These are intellectual constructs placed upon us by centuries of oppression and societal pressure, TONGUE should do what is good and right for herself, but can these thoughts even be consciously discovered?

TONGUE

Call my name, here I come
90 to nothing, watch me run
You call
I am ashamed

To say:
Ugly girls know their fate
Anybody can get laid
You want a room with a fire escape
I want to tell you how much I hate this

Don't leave that stuff all over me

It pains me
Please

Just leave it

I should toss that vanity license plate
Toss that makeup painted face
Box those poems, chocolate cake
Scratch that name on the record player
Please

Just leave me be

Don't lay that stuff all over me
It crawls all over

All over me

Call my name, here I come
Your last ditch lay, will I never learn?
Caramel turn on a dusty apology
It crawls all over me
You turn all over
It pains me
Please just leave it



  This song has extremely limited guitar, so the following is piano tab with some explanations. However, in many ways this is a starting point as I DO NOT PLAY PIANO. Believe me, plunking this out took far too long and if you do play piano, this will point you in the right direction as Mike Mills does not really play piano either so it is rudimentary and sounds nice but there is room for playfulness. Have fun! This song is also fun to play on guitar if you follow the notes!

TONGUE

The following tab is piano tab.  If you want more specific instructions they are at tabnabber.com, but here are the basics:

1. L and R is Left hand Right hand

2. The numbers to the right of the hand designation are the octave groups. Middle c is octave 4. All octaves start on c.

3. The lowercase letters are the whole notes- white keys.

4. The uppercase (In this case only 1) is a sharp note- black key.

5. This symbol (>) means sustain the note.

6. This symbol (|) separates the measures.

Because some chords and notes straddle and change octaves, some of the following is inaccurate, once you find the starting positions, you should be okay though.

The organ line follows the chords and at times follows the piano below.

Verse: F-Bb (x4) Am-Gm

The only guitar is barred F on the 8^th fret with a repeat

L 2|--------A---g--|--------A--g--|

L 3|f---c----------|f---c---------|

R 4|f-c-f-g>-c-g-a-|>-c-a-g>-f-c>-|

L 3|---------------|3|a-a-g------|

L 2|--------A---g--|4|c-c-A------|

L 3|f---c----------|4|e-e-d------|

R 4|f-c-f-g>-c-g-a-|4|a-a-g--agf-|

Chorus: Eb-Ab-Eb-Ab-Eb-Eb(D)-Ab-Bb 

L 3|D---G---|D---G---|D---d---|G---A---|

L 3|g---c---|g---c---|g---g---|c---d---|

L 3|A---D---|A---D---|A---A---|D---f---|

R 4|DDD-GG-c|DDD-GG-c|DDD-dd--|GG--A---|

Middle Bridge:  C-Bm-Bb-F-G-Ab-Bb  (Follow with fuzzed guitar notes)

L 3|c----|b----|A----|f----|g-G---|A---|

L 3|e----|d----|d----|a----|b-c---|d---|

L 3|g----|F----|f----|c----|d-D---|f---|

R 4|ggDfg|gg-fD|g-gfD|fffff|g-G---|A---|

End:

R 5|abc-ef|

Bb Guitar chord at the end:

e|-13---|

B|-11---|

G|-10---|

D|------|

A|------|

E|------|