UP: WHY NOT SMILE

   This was the first new R.E.M. song heard after the Bill Berry era. It was released on an Oxford American Southern Sampler in an acoustic version. I remember hearing this song before the album came out and it's ... well ... a little simple. Nothing crazy different, but also nothing earth shattering. The album version definitely creates more of a mood and has a warm ambiance. Michael feels the song is about someone who doesn't understand depression with a quick 'Why not smile' solution to everything, or a variation on telling people to smile because they'll be prettier. Sometimes I don't want to smile! Peter on the other hand thinks the song is sweet. Go figure. I've always leaned in to Michael's intention when listening, so I was happy to hear him feel the same way about the character. I mean 'the concrete broke your fall' is kind of a jerky thing to say to someone, great line though.



WHY NOT SMILE

The concrete broke your fall
To hear you speak of it
I'd have done anything
I would do anything
I feel like a cartoon brick wall
To hear you speak of it

You've been so sad
It makes me worry
Why not smile?
You've been sad for a while
Why not smile?

I would do anything
To hear you speak of it
Why not smile?
You've been sad for a while
You've been sad for a while

   I've put the basics below. The most important thing in the song is when the pattern doesn't continue to D and goes back to G after the A, like in the last line of the chorus. If you get lost, play along with the song. I also didn't post the power chords below, they just follow the regular chords--hang on D the first couple of times through and let it ring. The intros below basically take the place of the D chord and the walk happens two or three times in the song most notably before the first time we hear the lyric 'you've been sad for awhile.'

WHY NOT SMILE

Intro (Guitar 1)

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

B|---15----15----15--15--15--|

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

Intro (Guitar 2)

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

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

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

Verse (G-A-D)

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

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

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

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

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

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

D Walk (w/ the Bass)

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

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

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

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

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

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

Riff

e|-7777777----------------|------------|

B|--------10-10-10-10-10--|-10-7-5-3---|

G|-------repeat a lot-----|------------|

UP: WALK UNAFRAID

  Again, diving deep into these songs is giving me a new respect for old tracks I might have written off in the past. When the album came out, I remember feeling the track was too straightforward in its lyric. For a band that lives in obscurity--even in their 'heyday'--when Michael gains narrative clarity and personalizes the journey of his characters he sacrifices mystique. Up until this song, the tracks on this album even follow the familiar skewing of lyrical cliche. I also looked up the track listing and it pointed out that this is the first R.E.M. album I don't think of as having two sides. Walk Unafraid marks the beginning of the 'Down' side and thinking of 'You're In The Air' as the 'Up' side finale makes a lot of sense, sort of an 'Old Man Kensey' vibe. Apparently this lyric was inspired by something Patti Smith said to Michael Stipe when he was seeking lyrical advice. He doesn't really get into which piece the advice was, it could have been to 'Walk Unafraid' or maybe one day she said, 'you know, if I had to carry a bag of rocks ... ' which is incidentally the metaphor where I check out on this song. If this is a tune about his journey as a lyricist and perhaps his coming to terms with sharing his 'real' voice--think of the interview where he claimed the 'world's not ready for me yet'--then this 'clumsy' song is a brilliant gateway to the new Michael. But let's not put his lyrics in a box. The song is a lot of fun live and First Aid Kit does an amazing cover for the movie 'Wild' and I've included a clip of them singing the tune with Peter. What I love most about the cover is the official video which SKIPS THE BAG OF ROCKS line and makes it a 100% better song. But they also adjust the chorus to 'Hold me, love me, or leave me high.' Kind of a nice touch.



First Aid Kit w/ Peter Buck:



WALK UNAFRAID
As the sun comes up, as the moon goes down

These heavy notions creep around
It makes me think, long ago

I was brought into this life a little lamb
A little lamb
Courageous, stumbling
Fearless was my middle name, but somewhere there I
Lost my way
Everyone walks the same
Expecting me to step the narrow path they've laid
They claim to 

Walk unafraid
I'll be clumsy instead
Hold my love me or leave me high

Say: keep within the boundaries if you want to play
Say: contradiction only makes it harder
How can I be what I want to be?
When all I want to do is strip away these stilled constraints and

Crush this charade
Shred this sad masquerade
I don't need no persuading
I'll trip, fall, pick myself up and

Walk unafraid
I'll be clumsy instead
Hold my love me or leave me high

If I have a bag of rocks to carry as I go
I just want to hold my head up high
I don't care what I have to step over
I'm prepared to look you in the eye
Look me in the eye and

If you see

Familiarity
Then celebrate the contradiction
Help me when I fall to

Walk unafraid
I'll be clumsy instead
Hold my love me or leave me high

Walk unafraid
I'll be clumsy instead
Hold my love me or leave me high

   According to the First Aid Kit banter above, Peter says he recorded this on his own and they tinkered with the track so much he doesn't remember how the ending specifically goes. Which is understandable as he's trying e-bow and feedback and what sound like some weird pedal options. I don't tackle much of that below, but a lot of it is easy to find as he's mostly hitting single notes and sliding or bending.  Peter doesn't follow any set verse pattern throughout the song apart from the e-bow and that's what he mostly played live. I've put variations on the e-bow if you don't have one--it's just formations that mimic the harmonics of the feedback the e-bow produces. The chords to the song are in the First Aid Kit video above, but it's transposed to having a Capo 2. Love the opening chord forms, gently inspired by Radiohead's 'Airbag.'  

WALK UNAFRAID

Intro

G|-----8-7-----8-7>12----|

D|-7-8-x-x-7-8-x-x>-x----|

A|-x-x-6-5-x-x-6-5>10----|

E|-5-6-----5-6-----------|

Verse (E-Bow) Am-F

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

E|-5---1-----|

Verse (1^st and ‘Bag of Rocks’ Bridge only)

A|--7-7---3-3-----|

E|-5-5-5-1-1-1----|

Verse (High Pick, 2^nd Verse)

e|--9-9---8-8--|

B|-8-8-8-6-6-6-|

Verse (Option w/o E-Bow, I like to pick this form)

e|-0---0-|

B|-5---1-|

G|-0---0-|

D|-0---0-|

A|-x---x-|

E|-5---1-|

Bridge to Chorus (E-Bow) D-C

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

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

Bridge to Chorus (Option w/o E-Bow)

e|-0---0--|

B|-0---0--|

G|-9---9--|

D|-0---10-|

A|-x---x--|

E|-10---8-|

Chorus

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

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

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

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

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

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

UP: YOU'RE IN THE AIR

  I recently read a review of the album, it might've been Rolling Stone, giving UP a lovely review saying it's an album of rock ballads. I have to admit I've never looked at the album in quite that way, but it makes a lot of sense. With that in mind, there are a lot of good things about this song--some of the lyrics are lovely in an eerie sense, the atmosphere is unlike anything I've heard the band do to this point--kind of a mash-up of 'Monty' and 'Leave,' and the orchestrations are solid. However, according to setlist.fm, the band played the song live ... NEVER. Seriously, they've played Rotary 10 and 11 more. I can't help wonder of this song is a 'b-side' if Berry's around. Also, he yodels something toward the end that sounds like 'I'm walking on,' but is likely 'I want you,' so I won't even post it officially.


YOU'RE IN THE AIR

You wanted a challenge that's calling you higher

I landed on my feet by crawling

I remember standing alone trying to forget you, idling

I hate to admit it that's my reference point but there it is

You say you want me

I'm what you found I'm upside down you're in the air

You're in the air and I’m breathing

Brighten the stars the weather is lifting

The heavens love a love like this

It's pulling you higher twist it and turn this around

It lights from within it dribbles your chin

Now brings a smile I'm lost again

I'm lost again

I'm what you found I'm upside down you're in the air

You're in the air and I’m breathing you

I want the stars to know they've won if only to beguile

The sky has opened up again in heaven reconciled

I want you naked I want you wild

I want the stars to know they win
Give me that smile just give it me just turn it on I'm lost again

I'm what you found I'm upside down you're in the air

I'm what you found I'm upside down you're in the air

I'm what you found I'm upside down you're everywhere

You're in the air and I’m breathing you

   There's not a lot of guitar in the chorus of this song, but I threw some chords down that match the bass walk, listen along to find the rhythm. In addition, love the Em7 and F in this one. There's quite a bit of E-Bow to give the song an edge, but I didn't tab below. Mostly mess around with the 7, 9, and 5 frets.

YOU'RE IN THE AIR

Intro/ Verse

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

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

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

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

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

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

Chorus                ‘Breathing’

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

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

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

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

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

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

Post Chorus                    

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

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

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

D|-2---4---2---5---3---|-2--|

A|-0---0---3---5---3---|-2--|

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

Post Chorus Riff               

e|-5-5-3-5-5-3-5-5-3-5>8-5-3-3-5h-|-----|

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

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

Last Am Pick 

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

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

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

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

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

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

End on Am

UP: SAD PROFESSOR

  I'm having a strange experience with this album. The more I dive into the chords and lyrics, the more respect I have for the songwriters these three musicians have become. They are certainly in shaky re-inventive ground, but their craft is still there behind the electronic flourishes. I've always enjoyed this song, but like the apologist it's a character I can't really relate to. Sort of a love song for George in 'Who's Afraid of Virginia Woolf?' It's a musty song, filled with a stodgy old character. Now that I've known some sad professors ... yikes, it's pretty much spot on. 'Late afternoon, the house is hot' is one of my favorite lines in the Michael-verse. How about, 'A lazy eye metaphor on the rocks.' Great examples of how he can evoke so many feelings in a short stab of words. There is something he's yelling at the end of the song that sounds like 'feel free' but it's so distant I'm just gonna let it mellow there for eternity.



SAD PROFESSOR

If we're talking about love
Then I have to tell you
Dear readers, I'm not sure where I'm headed
I've gotten lost before
I've woke up stone drunk face down in the floor

Late afternoon the house is hot
I started I jumped up
Everyone hates a bore
Everybody hates a drunk

This may be a lit invention
Professors muddled in their intent
To try to rope in followers
To float their malcontent
As for this reader I'm already spent

Late afternoon the house is hot
I started I jumped up
Everyone hates a sad professor
I hate where I wound up

Dear readers, my apologies
I'm drifting in and out of sleep
Long silence presents the tragedies of love

Note the age, get afraid, the surface hazy with attendant thoughts

A lazy eye metaphor on the rocks

Late afternoon the house is hot
I started I jumped up

Everyone hates a bore

Everybody hates a drunk
Everyone hates a sad professor

I hate where I wound up

I hate where I wound up

   Tune those guitars down! As you can see in the clip posted above, Mike is on guitar for this one and he's dropped that tuning. Which makes this an awesome song to play. The ingenuity of these musicians is first rate and I can't help but wonder what this album is with Bill on board. It's taking pieces from their entire catalog and mixing it up for a new sound. This song has an AFTP vibe with the lyrical personalization of NAIHF.

SAD PROFESSOR

Verse (Dropped D)

d |-0---2---5---0---2---7---|

A |-0---4---5---0---4---7---|

F#|-0---3---5---0---3---7---|

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

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

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

Bridge to Chorus

d |-5---7---3---|

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

F#|-5---7---3---|

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

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

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

Chorus

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

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

F#|-5>7---5-5------3---|

D |-5>7---5-5-4-5h-4---|

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

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

UP: THE APOLOGIST

  Okay, UP is a number of songs in by this point and so far so good. I remember thinking when the album came out that The Apologist was the first misstep, but going back now I can only speculate on my reasoning, because the song isn't bad and in fact was one of the songs they played live to promote the album. The live version is really lovely. Because of the character of this song, I wonder if it's simply hard to approach and feel any empathy--although this person is clearly trying to better themselves? Maybe? Or since the tone of the album starts to change here, perhaps the turning point positioning of the song rubbed me the wrong way. That said, some of my favorite stuff is in this song: the part where the speaker calls the other person weak and later sweet is classic. However, didn't R.E.M. already write a better song with a 'sorry' chorus? And live they would play the songs back to back as a gag.



THE APOLOGIST

They call me the apologist and now that I'm at peak
You know at first it really hurt we joke about these things
I've skirted all my differences but now I'm facing up
I wanted to apologize for everything I was

So

I'm sorry, so sorry

So sorry, so sorry

I'm so sorry, so sorry

So sorry

Did you understand me right?
The people here are good
They tell me what I should have done and offer what I could
I'm good, all is good, all's well, no complaints
When I feel regret, I get down on my knees and pray

I'm sorry, (so sorry) so sorry (so sorry)

So sorry, (so sorry) so sorry (so sorry)

I'm so sorry, (so sorry) so sorry (so sorry)

So sorry, (so sorry) so sorry

I live a simple life unfettered by complex sweets (so sorry)
You think this isn't me? (so sorry)
Don't be weak (so sorry)
There I go (so sorry)
I'm so sorry

Thank you for being there for me
Thank you for listening, goodbye
I can forfeit selfishness I hope for you that you apply this happiness
This peacefulness

This peacefulness

I'm sorry, (so sorry) so sorry (so sorry)

So sorry, (so sorry) so sorry (so sorry)

I'm so sorry, (so sorry) so sorry (so sorry)

So sorry, (so sorry) 

I live a simple life (so sorry) (so sorry)
Unfettered by complex sweets (so sorry) (so sorry)
You think this isn't me? (so sorry)
That's so sweet (so sorry)
(so sorry) I'm so sorry (so sorry)

Thank you for being there for me
Thank you for listening, goodbye

   The sound of this song is VERY crunchy. The verse is mostly just Am with some overlays and I've added some below. However, because of the blending the band is doing in the studio, at times it's hard to tell when the noises are keyboard or guitar. But everything below should allow you to play the song, I tend to do the Bass Mimic for a lot of the verse to add that Em feel. Peter does some nifty stuff live that looks fun, but might be added for the sake of a show. He also plays the Post Lead Riff off of the 5th Fret, but it's SO much easier up at the 8th-10th. I love the B string part of the Lead, it's Peter's signature ever since Wolves, Lower.

THE APOLOGIST

Verse: Am

Verse Am Overlay 1 (slide the Am form up to Bm):

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

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

G|-2>4--4-2------|

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

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

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

Verse Am Overlay 2 (Bass Mimic):

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

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

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

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

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

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

Chorus

e|-3---5----8---10---|-3---5----8----|

B|-5---7---10---12---|-5---7---10----|

G|-5---7---10---12---|-5---7---10----|

D|-5---7---10---12---|-5---7---10----|

A|-3---5----8---10---|-3---5----8----|

E|-3---5----8---10---|-3---5----8----| 

Lead

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

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

G|-2-2>4-4>5-----7-7-5-5-7h-5-4---|-2-2>4-4>5-----7-7-5-7b-7b-7b--|

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

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

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

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

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

G|-5-7>9-7-9-7-9>10-7-10-10>12-9-12-|-5-7>9-7-9-7-9>10-7-10-10>12b---|

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

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

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

Post Lead Riff/ Walk to Chorus

e|----------------------------8-10-8-----|-12--------|

B|-10-10-10-10-10-10-10-10--10------10---|---13-10---|

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

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

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

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

UP: AT MY MOST BEAUTIFUL

  Another great track! It's hitsville with these guys, geez why were they ever a four piece? Just you wait! This was an idea for a song Michael had when Bill was still in the band, having the line 'I found a way to make you smile' he gave the idea for a Beach Boys inspired song to Mike and Peter. Surprise! They came up with something, but then Michael had to think of things to make someone smile--and it only took him a year! It wasn't as dramatic as coming up with the 'Man on the Moon' lyric, but pretty rough! In the end, the final inspiration struck and it took him a further 45 minutes to complete the song. An all around beautiful song, but it feels a tad on the short side which might have been why the single for it wasn't released until five months after the album came out. Someone was looking for the slow burn on sales for this album. Michael has claimed this is his first un-ironic love song and there might be something to that, it's him at his most sincere for sure but could we maybe take 'Be Mine' at face value? Or 'Strange Currencies?' 'Near Wild Heaven' anyone? In any case, the song doesn't dwell on metaphor or simile, it simply talks about real examples of beauty. Love the video by the way:



AT MY MOST BEAUTIFUL

I've found a way to make you
I've found a way
A way to make you smile

I read bad poetry
Into your machine
I save your messages
Just to hear your voice
You always listen carefully
To awkward rhymes
You always say your name
Like I wouldn't know it's you
At your most beautiful

I've found a way to make you
I've found a way
A way to make you smile

At my most beautiful
I count your eyelashes secretly
With every one whisper I love you
I let you sleep
I know you're closed eye watching me
Listening
I thought I saw a smile

I've found a way to make you
I've found a way
A way to make you smile

  For this one, I've posted guitar chords below and here is a link to where you can see the sheet music online. I might someday post Piano Tab as I've done before, but honestly I am short one piano at present. The chords below are also somewhat found on the sheet music, but I think substituting the Am during the coda sounds better. There is no guitar on this song, but there is the occasional banjo mutely picked to the chords below.

AT MY MOST BEAUTIFUL

Guitar Chords

Bridge to Chorus: (‘Do, do’s’)

F-Fmaj7-D-D

Chorus (‘I found a way … ’)

Gm-F-Bb (x2), Gm-F-Bb-C-F

Verse

Am-Bb-Gm-F (Last time through go to C before F like in the Chorus)

Coda

Gm-Am-Bb (x2), Gm-Am-Bb-C-F

End on F

UP: HOPE

  The seeds for this version of R.E.M. was born back during AFTP with the studio recording of Chance, at the end of which Michael intones 'This is tedious. Stop.' This song almost gets tedious, but it smartly changes up the music at key moments. The lyric here is amazing and I suspect it's one of the songs that led to the lyrics being included on the liner notes. The theme here is self-importance, the idea we can go forever and that medical science can prolong our lives--maybe at the cost of some alligators, but hey, survival, am I right? Immortality is such a theme of humanity, and what better time to contemplate it than on a night of drunken revelry. I like tracking where the word 'hope' comes up in the song. We are solidly in drum machine territory here, Bill.
  FYI, in an interview Michael says the 'Matthew' mentioned is not Matthew Shepard, but more in line with a solid male name like 'Matthew, Mark, John.' Incidentally, Michael is using religion a lot around this time, no?


HOPE

You want to go out Friday and you want to go forever
You know that it sounds childish that you've dreamt of alligators
You hope that we are with you and you hope you're recognized
You want to go forever you see it in my eyes
I'm lost in the confusion and it doesn't seem to matter
You really can't believe it and you hope it's getting better

You want to trust the doctors their procedure is the best
But the last try was a failure and the intern was a mess
And they did the same to Matthew and he bled 'til Sunday night
They're saying don't be frightened but you're weakened by the sight of it
You lock into a pattern and you know that it's the last ditch
You're trying to see through it and it doesn't make sense
But they're saying don't be frightened and they're killing alligators
And they're hog-tied and accepting of the struggle

You want to trust religion and you know it's allegory
But the people who are followers have written their own story
So you look up to the heavens and you hope that it's a spaceship
And it's something from your childhood

You're thinking don't be frightened

You want to climb the ladder you want to see forever
You want to go out Friday and you want to go forever
And you want to cross your DNA
To cross your DNA with something reptile

And you're questioning the sciences and questioning religion
You're looking like an idiot and you no longer care
And you want bridge the schism

A built-in mechanism to protect you

And you're looking for salvation
And you're looking for deliverance
You're looking like an idiot and you no longer care
‘Cause you want to climb the ladder
You want to go forever
And you want to go out Friday
You want to go forever

   The guitar here is sparse, but sounds really great. Michael used to play this one on acoustic guitar live for a more personal feel--you can find it on YouTube, but he's not exactly Cat Stevens up there. The chord progression varies as the song progresses, holding on C a lot longer near the beginning, but as it picks up intensity alters between C and F more frequently. This is more fun to play than you might think!

HOPE

Verse C (Repeat the pattern ad nauseam under the whole dang song)

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

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

G|------10------10---|

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

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

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

Verse F (Keyboard part, but sounds cool on guitar, played along with C pattern)

e|----10-8-7--7-8-|

B|----------10----|

G|--10------------|

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

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

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

Middle Bridge ("You want to climb the ladder") is an Em chord 

End with C chord and a bunch of distortion and feedback!