UP 25th Anniversary

  Welcome back. Thanks. Let's go.

  So, my last post was Monster 25 and mostly because that package was wild, what with the remixed disc and all. New Adventures was a ho-hum release and I'm not as deep into that album as a lot of other fans--the only thing I would note is that the main criticism was a lack of unreleased tracks. Y'all! The album was recorded mostly while they were on tour ... where are those tracks supposed to be?

  Here we are with the UP reissue and honestly, this is where the band lost the majority of fans. In my original set of posts, the revisit was very positive. The more I dove into the album lyrically and musically, the more I realized the songs were staying true to the R.E.M. process. I came away impressed with the songs and with the new three piece overall. This remaster doesn't really change that assessment and I had some of the same thoughts, particularly that the songs are all individually solid. In retrospect, I think an intro and a wrap up would have been interesting with the original posts--what are my thoughts going in and coming out--because, going in I wasn't looking forward to it!

  Okay, here's the new assessment: This is a DIFFICULT album that is constantly trying to distance the listener musically, lyrically, and thematically. These characters are harder to get a grasp on than Monster. In the original posts I said something to the effect of Michael creating characters that constantly NEED to look up because they are always falling, always slipping, misstepping. That really hit home for me on the re-listen and is not the easiest character to get behind. 

  Musically, forget the electronica, these basslines are bananas! They ALL skew to the low bass which is anti-Mills like. The bass for R.E.M. in the past always needed to walk and create in order to balance the arpeggiated guitar. They sustain uncomfortably and sometimes sound out of tune here, which they might be as it's hard to tune to electronica--it could also be on purpose to create an unease--I encourage you to listen again and pay attention to what the bass is doing because it made me tense for the entire album. As I said before, they don't want you to feel comfortable and since Mills has said this in general about the new direction UP was taking (particularly in relation to Airportman leading off) it should not be surprising. As an example, a past R.E.M. arrangement of Daysleeper probably has the bass play something akin to the slide guitar part, but here it kind of just creates a heavy and brooding layer.

  Lyrically, it's hard to like many of these characters. Even the person in At My Most Beautiful is slightly odd. The lyrics almost to a fault are off putting and the vocals are eerie--that goat backing track on Lotus is maybe too far, even for an acid trip? That said, outside of the last week I was merely heck and bag of rocks cringy lines, the lyrics are next level for Michael.

  Thematically, the album is ALL OVER THE PLACE. The music hides this as there is definitely excellent work to continue the R.E.M. legacy of well produced albums that feel of a piece. However, I think I would put this in the OOT and CIN categories of pastiche albums. I did not put this together until this relisten, but this album does not match in any way and I now think it's 2 songs too long (not sure which ones, but I'm looking at Sad Professor and Falls to Climb a bit). I read an interview that the band kind of agreed, but they couldn't agree which 2 to remove--I bet Bill would've helped there! 

  I decided to try resequencing and while it's not my favorite exercise (the band chose the list for a reason), I enjoyed the album more jumping around. An afterthought was what if one of these was a hidden track (a big trend in the 90s), but I decided for the exercise that all the songs had to stay. My main goal was to front load and also break up the 4 songs in the middle (starting with The Apologist). And try to make the song choices more cohesive. Here was my list, give it a listen and let me know what you think:

WHY NOT SMILE - similar tone to AIRPORTMAN without the true distancing of that track
DAYSLEEPER (maybe without the intro/outro stuff) - should be the traditional number 2 track
LOTUS - keep up the easier accessible track theme
THE APOLOGIST - and then keep up the rockin'
WALK UNAFRAID - similar to APOLOGIST in tone, but going with it (thought of I'M NOT OVER YOU after this one)
AT MY MOST BEAUTIFUL - finally, let's slow it down
YOU'RE IN THE AIR - this placement made me appreciate Mills' 'hidden gem' assessment as it pairs well with Beautiful
AIRPORTMAN - here, this track creates a nice shift/bridge and I don't dislike as much as some other fans. I would trim a minute off of it though
SUSPICION - Still the best song on the album, time for the 2nd half gems
DIMINISHED/I'M NOT OVER YOU - such a good song and pairs nicely here, plus OVER YOU leads nicely into:
HOPE - always loved, but felt out of place on the front
FALLS TO CLIMB - this is my toughest. It sounds like a closer, but I don't like the overall feel (this would be my hidden track candidate)
SAD PROFESSOR - Here, the song leads nicely into the final song:
PARAKEET - So good and the little ditty ending is a good place to leave them wanting more

That's the post. Also, stop hating on AIRPORTMAN, there's nothing wrong with it you're just salty and wanted Radio Song or Kenneth.

MONSTER 25th Anniversary

  I haven't posted on the 25th reissues in the past, but I find that this album is so utterly connected to my soul that I'm having a lot of thoughts and feelings. In short, the release has made me realize that MONSTER is probably my favorite R.E.M. album. I wish I could explain it. Do I think it's their best? No, I'm firmly in the FABLES camp there. However, this is the album I return to most and am constantly impressed by. There's always something new to find. The album is so layered that I want another album of different remixes from each member of the band. In listening to their interviews it sounds like they're all revisiting the album and are surprised at how well it holds up--it's a treasure trove of everything that the band is. The character work here is the best of Michael's career and as a lyricist he somehow mixes the familiar with the arcane. It's a real high wire act. The bass lines are goddamn perfect, the beats are haunting (even KING OF COMEDY, which, seriously is a fine song and I'm a fan), the guitar is perhaps the trickiest in my experience because it's so out there and there are some brilliant moments. The fact that the wall of sound approach holds the album together thematically and sonically is HUGE.

The Book.

  First, the book that comes with it. There are lyrics. They are not all accurate. Michael is still revising in places and in others I don't think he knows what he's saying. It's frustrating in many ways when the printed lyrics don't match what's recorded. However, as a writer I know it's completely fine to re-write and honestly, have at it! But, still. Also, the blue coloring is chilling. From the press releases I was shook. Like, physically almost crying.

1st Disc.

  It's the remastered original. There is nothing different except for clarity in parts. You can hear some harmonies clearer and it is truly amazing. I love it. Gave the album a digital bath and it was so very necessary with this one!

2nd Disc.

  The Demos. It is absolutely SHOCKING that these are all instrumentals unused (barring REVOLUTION which sounds so good), but they do start to blur together. Can you imagine Michael popping this into his car or headphones and trying to get inspired to write? This is assault! They ended up scrapping everything and playing live (which lasted through the tour to produce NAIHF) resulting in the album. But here we have two very early versions of songs that surface over a decade later. FINAL STRAW (not one of my favorites) and UNTIL THE DAY IS DONE are so lovely to hear. I have a couple of these tunes in my head (at least until I saw 'Uncut Gems' and now I will never hear anything but that synth score) and wouldn't it be fun to hand these over to Michael to finish for a new old album? Maybe Mike should make these his first solo album.

3rd Disc.

  The remixes. I love these. They give something to each song and it's lovely to hear the vocals out front. I listened to the R U TALKING podcast where they vote for their favorite version and honestly, I like all the originals over the remixes. It's unfair to Scott Litt, but in order to boost the lyrics you get dead air and I hate it. Also, the album sounds more like the disconnected OUT OF TIME or NAIHF than MONSTER. MONSTER is MONSTER. It fits together like a fucking puzzle.

4th and 5th Disc.

  The live show is so clear. I have my own copy of an old show I personally taped which has a great story about being all college dropouts with something I still quote 'which isn't cool--although I think it's pretty cool.' It's such a thrill to hear MAN ON THE MOON as a non-closer, plus rare live songs like YOU and CIRCUS ENVY. It's a treat from beginning to end.


  Overall this one is an A++++++! It's actually the only 25th Anniversary package I am excited to own and revisit. The team at Craft are frigging geniuses and of course the band is spot on with this one.

PART LIES, PART HEART, PART TRUTH, PART GARBAGE: HALLELUJAH

   When I first saw this new track, I assumed it was going to be another cover of the Leonard Cohen song which has been covered to death. After listening to the song I was happy it was an original, but very confused. The band to this point had been fairly secular, apart from the rare reference or Christmas song, which is directly to my tastes, so this song put me off and I didn't give it much regard. As it came time to dive into this track the little peculiarities started biting at me and the lyrics and music do not match a song that praises so much as surrenders. And then I heard the bomb line and everything fell into place. This is a character who has prepared to meet their lord and then take some heathens with them. The extremist views of such a character are amazingly nuanced by the quiet lyrical delivery, but Michael uses his favorite tool here in the end--his rough bellow of a voice. The gravel scrapes the beautiful surface and lays the intention of the song bare. We can all be complicit, we can all be guided to the extremes, and in a sense a lot of us are being pushed to rhetorical extremes that can only be scary harbingers.
   In this last officially released R.E.M. track we revisit the Radio (of Radio Free Europe) and instead of the apathy even in the face of revolution, we have someone resolute, taking a stand, turning the radio on, and making a decision, however painful or harmful it is. There are some who watch and some who act. It's been a privilege diving into this catalog and to a lyricist and band that wanted to add some activism to their art. There is more in this journey to curate the catalog and pen further essays, but for now I feel a sense of wonder and accomplishment.



HALLELUJAH

The world is an oyster, the bitter refrain
The lord is my shepherd, I cannot stay
This blessed earth, this beautiful lamb
A new day that breaks the dawn

I am the tide, the oceans sing
I am the anchor, I hold the brass ring
I am the action or the deed of our king
I am the static at night
You make me to stand in the square unseen
And make my choice decision to sing
And bring my lord, what this may bring
I stand before you in the law

I rallied and sang, and shouted refrains
I'm blessed and the radio on
The air was calm

I held the bomb
And the radio

The radio

Hallelu
Hallelu

Hallelujah

Hallelu
Hallelu

Hallelujah

Hallelu
Hallelu

Hallelujah

Hallelu
Hallelu

Hallelujah

Hallelu
Hallelu

Hallelujah

   A nice easy rhythm on this one, a solid progression for a solid finish to an amazing catalog. I'm gonna miss agonizing over Peter's tunes so much I think the next step are his solo albums.

HALLELUJAH

Verse

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

B|-2---1---0---0---3--|

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

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

A|-4---0---2---3---2--|

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

Chorus

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

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

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

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

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

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

Empty Verse Doodle

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

B|-5-5-5-5-----13-12--|

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

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

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

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

End: Repeat C-G, Verse Once, End on F#m. 

PART LIES, PART HEART, PART TRUTH, PART GARBAGE: WE ALL GO BACK TO WHERE WE BELONG

   This song does an amazing job of summing up almost every era of the band and shock and surprise, it's a 70's feeling easy listening song. There are traces of DOCUMENT, AFTP, REVEAL, RECKONING, I mean it really is a wonder of engineering and songwriting--riffs, backing vocals, orchestrations, horns--kind of a perfect summation of the band at this stage drawing upon everything they've learned. A very beautiful song as well with a Kirsten Dunst video to boot, pretty sure she cries in the video because they just told her they were breaking up. I love the second line 'your shirt and your reputation tossed.' I appreciate this one more every time I hear it.



WE ALL GO BACK TO WHERE WE BELONG

I dreamt what you were offering
Imagine lying next to me
Your shirt and your reputation tossed
I will write our story in my mind
And write about our dreams and triumphs
This might be my innocence lost

I can taste the ocean on your skin
That is where it all begins

I dreamt that we were elephants
Lift water, sun, and clouds of dust
And I woke up thinking we were free

I can taste the ocean on your skin
That is where it all begins
We all go back to where we belong
We all go back to where we belong

Is this really what you want?
Now is this really what you want?

I can taste the ocean on your skin
That is where it all begins
We all go back to where we belong
We all go back to where we belong

Is this really what you want?
Is this really what you want?

   A simple song, but elegant in its recording. Nothing flashy. Mostly picked chords. If the start of the verse looks intimidating its jest a hammering of the C chord before the pick and strum of the Fmaj7. 

   

WE ALL GO BACK TO WHERE WE BELONG

Verse (C-Fmaj7)

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

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

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

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

A|---3h-----0--|

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

Chorus (C-G-F)

e|----0-----3-----1---------|

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

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

D|---2---5-----3-----3-2-0--|

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

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

Chorus Walk

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

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

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

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

A|-3---5-7---5-7-8---8-7-5-|

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

Bridge

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

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

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

D|-2---3---5---3---|

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

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

Bridge Walk

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

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

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

D|-2-0-2-3-2-3-5-7-5-3-2-3-2------|

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

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

Empty Verse Walk

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

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

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

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

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

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

PART LIES, PART HEART, PART TRUTH, PART GARBAGE: A MONTH OF SATURDAYS

  This song gets completely slammed by most fans and I have no idea why. Well, maybe a little. The band breaks up and here's a best of with three final new songs and this is the first one--a Monkees-style weird pop thing with Michael sleepwalking the lyric. It's a frigging demo! Plus, I find the song endearing in much the same way as 'Chance,' a firmly tongue in cheek tune that is a hallmark of R.E.M. songwriting. Michael has always had this silly side and honestly, the song is ridiculous. Who the hell are these guys to know what 5pm Friday means?! Weekends and weeknights are when they actually work. I've always taken it to be a satirical comment on rock stars telling regular folks what's up. Sort of the opposite of Don Henley's A Month of Sundays, and maybe inspired by Church's Month of Sundays?



A MONTH OF SATURDAYS

Five o'clock Friday all my work is done
I can hardly wait
Let's take this over, let's sling it around
Let's make it taste so sweet

I wanna take all the Saturdays
I wanna stay up late
I wanna stomp my feet on the ground
I wanna celebrate

A month of Saturdays, Saturday
A month of Saturdays, Saturdays

Unh

I'm tired of waiting for the weekend to begin

(Sunday, Monday, Tuesday)
I'm tired of punching in

(Wednesday, Thursday)
Give me a holiday that never ends

(Friday, Saturday)
Give me a weekend, weekend, weekend
Give me a weekend, weekend

A month of Saturdays, Saturdays
I'm talkin' Saturday, Saturdays

Unh
Shout

Give me a weekend, weekend, weekend

  So easy.

A MONTH OF SATURDAYS

Verse

e|-0-0-4-4-5---|

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

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

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

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

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

Chorus

e|--5---5---3---7--|

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

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

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

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

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

LIVE AT THE OLYMPIA: ON THE FLY

  Another song that didn't fit ACCELERATE, but maybe might've weaseled into a longer version. I hope there's a studio version out there somewhere that stretches out the thought, but this is the era of short song R.E.M.. It's like the group picked up some Ramones and Weezer albums. There are shades of Galveston and Country Feedback around the edges and it's the type of track that reminds me R.E.M. is a southern band. Bill would be happy that this track sits on the border of old school country music. According to the recording, this song was one of the first they wrote for the album. Love the stripped down version in the video below.



ON THE FLY

You said that loving me was falling off a log
You always had a way with words
I'm in a barrel over Niagara Falls
I wonder if I am the first
Now if I asked of you for just one wish
Would you turn on me and take the fifth?
You're off again at some epic celebration
Shooting barrels full of fish
You found another hole to waltz into
You found another car to crash
I figured out that humor serves me up
Another this too shall pass

It's easy to laugh off, easy to brush aside
We're living our lives, we're here on the fly
It's easy to laugh off, easy to brush aside

We're living our lives, we're here on the fly
And I just happened by

I stood there naked by the trains again
Frozen stock still in the yard
A Heron waiting for a fish to jump
I never let down my guard
I've been exclusive when it comes to you
I don't receive at all
I wish I felt the same when you call me late
I almost wish you wouldn't call
God knows what I'm looking for
And god knows what I am
Cause even Jesus had his reservations
I won't be doubting you again
I won't be doubting you again

It's easy to laugh off, easy to brush aside
We're living our lives, we're here on the fly
It's easy to laugh off, easy to brush aside
We're living our lives, we're here on the fly
And I just happened by

I'm living my life, I'm here on the fly
And I just happened by
I just happened by

   I kept this one very simple. The key here is the Cmaj7 and that pinky on the 2nd fret for the Em. There's some loose slide going on that can be figured out pretty quickly upon listening which follows the chords. The intro has the second guitar picking the high strings on the 12th fret. Maybe this one's on the lazy side.

ON THE FLY

Verse

e|------2---0-------1---0-|

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

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

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

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

E|------0---0---x3--1---0-|

Chorus

e|--1---0-------2---0--|

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

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

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

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

E|--1---0---x3------0--|

LIVE AT THE OLYMPIA: STARING DOWN THE BARREL OF THE MIDDLE DISTANCE

  Love this as a live song and I'm just as glad it never made an album. However, it might have suffered from lack of time to grow in a studio setting. It feels as if the song is of the rougher ilk of NAIHF, likely because there are only live versions available which makes me wonder if there are studio versions of these next two songs out there somewhere. Only Jacknife Lee knows I suppose. Michael says this phrase basically means hoping you live long enough to be able to look back on your youth. Sort of a mix of staring down the barrel of a gun and having your life flash before your eyes an the long stare into the middle distance, contemplation.




STARING DOWN THE BARREL OF THE MIDDLE DISTANCE

Now hope for the future took a pounding in the parking lot
And the answer live for today is all I’ve got
When your name is called the lights might dim
And time is the essence squeeze me in

I'm blinking at the vanishing point of what I thought

Staring down the barrel of the middle distance
God knows I've tried
I close my eyes
I close my eyes
I close my eyes

I breathe despair do we stand a prayer
Is the call for the future I don't care
Can I turn you around to face me here, unh hunh
There's a compass phrase with familiar tone
A voice that needles me to the bone

Staring down the barrel of the middle distance
God knows I've tried
I close my eyes
I close my eyes

I close my eyes

This position shift has its benefits
If you can't hit play cause the button sticks yeah
Ignorance is bliss, well I can't say
There's a compass phrase a familiar tone
A voice that needles you to the bone
You're left with chaos, static, and delay

Staring down the barrel of the middle distance
Staring down the barrel of the middle distance
God knows I've tried
I close my eyes
I close my eyes
I close my eyes

Staring down the barrel of the middle distance
God knows I've tried
I close my eyes

  This one is a lot easier than I thought and it took a little of the mystique out of the song.  There are a couple of things not mentioned below. The later bridge hangs on the A-G for a little longer, there are some things Scott is doing in the background not noted, but if you want to throw the bend in before the last verse it's the b string on the 11th fret. Peter also does his standard open e and b string pick at times in the verse, listen and play along to find.

STARING DOWN THE BARREL OF THE MIDDLE DISTANCE

Intro/Verse

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

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

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

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

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

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

Verse Fill (Guitar 2)

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

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

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

D|------------5-7-7>9-7-5-0-|

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

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

Bridge to Chorus

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

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

G|-6---4--------6--|

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

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

E|-5---3---x3---5--|

Chorus

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

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

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

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

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

E|-0---0---x3---3---5-|

Chorus (Guitar 2)

e|-2---0--------7----9---|

B|-3---0---------6----8--|

G|-2---1-------7--7>9----|

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

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

E|-----0---x3------------|