Please take a few minutes to check out part one of my reflection on the retirement of R.E.M. and their effect on my life: The Vanishing Point Appears: Life Score By R.E.M. – Part 1.
I was four years old when Peter Buck met Michael Stipe while working at the Wuxtry record store in Athens, Georgia in 1980. I’m now 35, married, and have two kids of my own. Peter Buck and Michael Stipe are still part of the band they would create with Bill Berry and Mike Mills not long after meeting and that band is called R.E.M. The college rock icons, who reached their commercial peak in the mid-nineties, just released their fifteenth studio album entitled COLLAPSE INTO NOW.
At this point I would like to take just a moment to pause and thank whoever it was that hired Peter Buck to work at Wuxtry records. Thank you. Because of you (whoever you are) two of the four critical pieces were put into place to meet and begin a creative journey that has progressed for thirty one years and is still putting out beautiful, grand, and gripping music. While many artists fade into oblivion, R.E.M. is putting out some of its better work in its thirty-first year as a band. It is an album that flexes the characteristics that have made R.E.M. the icon of a band that they are, but, in a manner that steers well clear of merely being a reprise of their past work.
COLLAPSE INTO NOW opens with “Discoverer” which wields guitar and drums without shame and in a manner that seems even more explicit than their rock revival, 2008’s ACCELERATE. It is a testosterone-tweaking song with a driving arrangement that hits hard from beginning to end both musically and lyrically with perfectly placed and timed lines like, “…I rang the church bell ‘til my ears bled red blood cells…” I can’t put my finger right on it, but, for some reason that line is extremely impressive to me. Maybe its the way it is sung or maybe its the clever cluster of rhyme and alliteration. But, it is a fantastic line in a killer song.
The next four tracks together create a golden stretch of songs that are as compelling as they are beautiful. “Überlin” seems like it could have been at home on AUTOMATIC FOR THE PEOPLE or perhaps REVEAL, but, fits perfectly, here in 2011 on their newest album as a tribute to the city of Berlin where a good portion of COLLAPSE INTO NOW was recorded. “Überlin,” at least, rivals the integrity and character of the R.E.M. that many fans have loved them for over the past three decades. But, where “Überlin” provides a fresh spin on the classic R.E.M. sound, “Oh My Heart,” creates a fresh and altogether reverential and somewhat celebratory new and fully realized composition that should be counted among the best in the trail left by the Athens, Georgia band through the fields of rock music history. Scott McCaughey’s accordion and Peter Buck’s mandolin provide the perfectly flavorful background for the slightly discordant dance between Michael Stipe’s lead vocal and the backing rounds of “Oh my heart…” in a manner that tactfully, sincerely, and respectfully celebrates the journey and the victory that is the city of New Orleans.
“It Happened Today,” and “Everyday Is Yours To Win” complete an altogether strong side A to COLLAPSE INTO NOW. “It Happened Today” strikes a very comfortable chord by appealing to my high school/college years preferences with a celebratory and anthemic demeanor that is ever so delicately and blissfully enhanced by the vocal chords of one Mr. Eddie Vedder of Pearl Jam. “Everyday Is Yours To Win,” conjures up instant relativity to AUTOMATIC FOR THE PEOPLE with lines that make references to ticking clocks, rock and roll, bridges, and coming to peace with one’s lot. It could just be me. Regardless, the song soars with the middle bridge which features the golden background vocals of Mr. Mike Mills. Its a keeper, for sure.
“Mine Smells Like Honey,” while a decent song and all, is probably the one that I could survive without. You see, I’ve got kids and, even if they don’t have any idea (at 3 and 7) what the songs lyrics are referring to, I can’t bring myself to play it in the car (the others I have no problem with) for them to learn and sing along with. So, I automatically (darn! – another AUTOMATIC reference!) hit skip when its on unless I’m alone. But, when I’m alone….well, “mine smell like honey.”
“Walk It Back,” is a simple song in which Stipe taps a more soulful pool than that which has been heard in the past. It reaches its height when Mills can be heard contributing background vocals in the latter part of the track.
“Alligator_Aviator_Autopilot_Antimatter” very much comes out of the box much like “All The Best,”: a raucous, testosterone laced rocker that flaunts the irony of the song’s aggressive musical arrangement by juxtaposing with it an alternately flexing and reflective lyrics that cling true to where R.E.M. is now in 2011: an icon of a band that has experienced it all and is better for having done so.
“That Someone Is You” may be my favorite song on the album. It is a quick-tempo nod to their intertwining pop-punk influences that, true to form, measures in well under two minutes. There is no song that I revel in more when nobody is looking – and sometimes when they are.
Certainly, one of the more subdued tracks on the album is “Me, Marlon Brando, Marlon Brando and I.” Stipe’s delicate lyrics, in combination with the vulnerable and sincere-sounding vocals, rest on an acoustic, ambient bed of sound that, again, while maintaining a sense of personal reflection, are enhanced by gentle background vocals subtly placed by Mike Mills at just the right time in the latter part of the arrangement. The song creates an environment for the listener similar to that which was featured throughout R.E.M.’s vastly underrated 2001 album REVEAL: a gentle place and time where reflection is allowed, encouraged, and where the listener can be at ease.
Finally, the album closes with “Blue.” Patti Smith, longtime influence and friend of the band, provides her characteristically beautiful and haunting voice to a song that features a rapid stream of consciousness monologue delivered, albeit through distortion, by Michael Stipe. The song and the lyrics (at least those that are clearly decipherable) present a fitting and victorious end to R.E.M.’s fifteenth studio album before reprising the sounds of the opening track, “Discoverer,” in a manner that is fitting both poetically and sonically.
Altogether, very few bands survive long enough to put out fifteen studio albums. Even fewer do so in the manner and with the integrity that R.E.M. has over the past thirty years. COLLAPSE INTO NOW stands tall, not only in comparison to R.E.M.’s own catalog of studio albums, but, in comparison to the rest of the music world as it is in 2011. The band made good on what Stipe set out to do in “All The Best”: “…let’s show the kids how to do it, fine fine, fine fine.” Indeed. A fine record.
COLLAPSE INT NOW:
“Discoverer” – 3:31
“All the Best” – 2:48
“Überlin” – 4:15
“Oh My Heart” – 3:21
“It Happened Today” – 3:49
“Every Day Is Yours to Win” – 3:26
“Mine Smell Like Honey” – 3:13
“Walk It Back” – 3:24
“Alligator_Aviator_Autopilot_Antimatter” – 2:45
“That Someone Is You” – 1:44
“Me, Marlon Brando, Marlon Brando and I” – 3:03
“Blue” – 5:46
R.E.M. released REVEAL in 2001 lush with a delectable blend of acoustic and electronic, guitar, and drum machine. While critically acclaimed it didn’t sell as well as other members of the R.E.M. library and, subsequently, remains an underrated album. But, that’s just it. It’s strength lies in its cohesiveness in theme, lyric, texture, and tone as an album. Since its release in 2001 it has been a constant companion amidst a slew of albums that have floated in and then back out of rotation by various artists and bands. I’ve created a site devoted to the album complete with video links, published album reviews, REVEAL-era artwork and photos, and lyrics (lyric page still under construction). Also included is an exclusive reflection from part-time R.E.M. extended-band member Ken Stringfellow (The Posies and The Disciplines) about his experiences taking part in the making of REVEAL. Why not check it out?
Worthwhile reflection about community and the role that music can play in developing it…
from Athens Music Junkie:
So many reasons to celebrate this day. The music of R.E.M. pulled me up from ignorance to a growing sense of place and understanding that I don’t need to be able to relate to the world, but, that the world relates to me. I was The Wrong Child living through a phase of life in which I was World Leader Pretend. But, Country Feedback started stitching the panels of my youth together to a future as an adult that still seemed Half A World Away. It was The End Of The World As I Knew It and it felt fine, to a degree, first at thirteen, and then again at twenty-one through the operating room sound system just as the gas mask was being placed on my face. It was the innocent line about being my future wife’s Easter bunny, amidst a song and a world that carried so much more weight when juxtaposed against the fog of my immediate fate through which I tried, so hard, to Walk Unafraid. It was when dancing with her during our first dance that I knew that it was true: should was willing to Be Mine after all. Grace began to Reveal its hand as Summer Turned To High while my wife and I settled into a new life living on a back road in the new south where I began my career as a teacher. The optimism of the music, intertwining southern imagery with oceans and summer settings, assured me that I’d do fine. It was Belong, though, that played like heavy, dense, humidity, so memorably, through the car speakers on our way to the delivery room when we realized that our daughter was arriving a month early. It was an onstage reunion with Mr. Berry that marked the first time that we ever left our daughter with friends, four months later, so that we could steal a night on our own. Later moments would involve my kids singing and dancing along to the staples that painted the walls of the corridors that I’ve walked through in life so far…the likes of Little America, Second Guessing, Letter Never Sent, Shiny Happy People, and Circus Envy reverberating and shining through the windows of our future. A future that looks bright from where we now stand: on the heels of two trips to Athens – the latter to celebrate their thirtieth year of a band that has provided, and will continue to provide, the score to my life and the lives of so many others. Thank you R.E.M. Cheers!
It was June 24, 2003, around five in the morning when it became clear that our daughter wanted to make her entrance into the world four weeks earlier than planned. She was the first of our two children and while a swirl of anxious anticipation, fear, and nervousness ricocheted around in my head, a song by R.E.M. called “Belong” struck the moment (R.E.M.’s CD Out Of Time was spinning in the CD player when we first started the car up to speed of to the hospital) in a way that will never be forgotten. My daughter is six now and loves singing along to the soaring word-less chorus when it comes up on my iPod in the car. Below is a poem that I just wrote about that morning with obvious references to the song. Further below is R.E.M.’s version in video form.
Northwest of Athens
A weekday morning
Southern raindrops fall
From the overcast
Gray calm, calm: sky
Onto our windshield
She collapsed the sea
Jumped the barricade
Leaving us to hold
Our breaths en route
As the rhythm of
The wipers and the
Song: Belong, whispered
Compressed our chests
Wringing time from hope
Until she began
To breathe, to breathe in
And out and we knew
Seemingly insurmountable circumstances
What we can’t understand
Wind knocked out
On your knees
Seeking what you don’t have
A beginning for hope
“When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put childish ways behind me. Now we see but a poor reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known.” 1 Corinthians 13:11-13
“We know that the whole creation has been groaning as in the pains of child birth right up to the present time. Not only so, but we ourselves, who have the first-fruits of the Spirit, groan inwardly as we wait eagerly for our adoption as sons, the redemption of our bodies. For in this hope we were saved. But hope that is seen is no hope at all. Who hopes for what he already has? But if we hope for what we do not yet have, we wait for it patiently.” Romans 8:22-25
When the day is long and the night, the night is yours alone,
When you’re sure you’ve had enough of this life, well hang on
Don’t let yourself go, ’cause everybody cries and everybody hurts sometimes
Sometimes everything is wrong. Now it’s time to sing along
When your day is night alone, (hold on, hold on)
If you feel like letting go, (hold on)
When you think you’ve had too much of this life, well hang on
‘Cause everybody hurts. Take comfort in your friends
Everybody hurts. Don’t throw your hand. Oh, no. Don’t throw your hand
If you feel like you’re alone, no, no, no, you are not alone
If you’re on your own in this life, the days and nights are long,
When you think you’ve had too much of this life to hang on
Well, everybody hurts sometimes,
Everybody cries. And everybody hurts sometimes
And everybody hurts sometimes. So, hold on, hold on
Hold on, hold on, hold on, hold on, hold on, hold on
Everybody hurts. You are not alone