There were a handful of nights back in the early 1980s when me and my buddy Gene did little else but sit around in his folks’ living room, bliss out on the heat of the woodstove, and listen to Elvis Costello’s Imperial Bedroom and, especially, R.E.M.’s Murmur.
I remember being completely amazed at what I was hearing – the weird part being that I had no way to articulate the “why” of the music’s greatness. Peter Buck’s jangly arpeggios and mashed chords, Mike Mills’ hyperactive basslines … these were surely part of the reason I was so entranced.
They just sounded very new and fresh, this despite the supposed Byrds influence that I’m sure I didn’t pick up on at the time. It’s also amazing to me that we’re still talking about the band so many years later, even if it’s because R.E.M. has called it quits.
In a new message posted to their Web site, R.E.M. says: “To our fans and friends – As R.E.M., and as lifelong friends and co-conspirators, we have decided to call it a day as a band. We walk away with a great sense of gratitude, of finality, and of astonishment at all we have accomplished. To anyone who ever felt touched by our music, our deepest thanks for listening.”
When R.E.M. exploded to the superstar level so many years after Murmur, I can’t say that I was surprised. It was pretty easy to see the talent and creativity even in the early songwriting. It did feel a little strange though, to see a band that I thought of as my own little secret grow into a worldwide sensation.
It has been similarly weird to see R.E.M.’s transformations later in their career, especially post-Monster. No, especially post-Bill Berry. I didn’t know what to think of Up and really liked Reveal. And Around The Sun? Let’s just say that I was sure that it was their swan song. That’s not what I as hoping for, but that lackluster collection of songs (“Leaving New York” excepted) sure wasn’t encouraging.
Longevity is a rare thing in the rock world, and given the direction the band had taken after Berry’s departure, R.E.M. sounded like there was nothing left in the tank. That is, until Accelerate, which found the band back squarely where they belonged. Buck rediscovered the electric guitar, Mike Mills was all over the place instrumentally and vocally, and Michael Stipe sang as though his life depended on it.
It was good to have them back, if only for a moment.
SOMETHING ELSE! ROUNDTABLE ON R.E.M.’S SPLIT
TOM JOHNSON: It’s probably about time. Has much of their music really impacted anyone lately? Some of it’s very good, but it lacks staying power. It also doesn’t sound like new music — it’s all been variations of old themes.
MARK SALESKI: Well, they certainly didn’t mean as much to me as time went on. But to be honest, that’s probably more of a reflection on the changes in me. As proof: I never even listened to ‘Collapse Into Now.’
S. VICTOR AARON: Time to re-form Hindu Love Gods with Warren’s son.
FRED PHILLIPS: I honestly didn’t know they were still together. They were one of those bands that, when I was growing up, you had to like them to be “cool,” but they kind of passed me by. I didn’t dislike them — well, there are a few R.E.M. songs that I hope I never have to hear again — but I never was a big fan, either. ‘Green’ is the only record I own, and that primarily for “Orange Crush.” Still love that song.
MARK SALESKI: I totally dug everything from ‘Murmur’ (still my favorite) all the way through ‘Monster.’ After that, I sometimes can’t even remember what song was on what record … except that i do remember that “Imitation Of Life” was on ‘Reveal’ and that a lot of people really hated that song. I have no idea why. I loved it. Maybe the last song by them that I loved.
TOM JOHNSON: This’ll brand me a heretic, but I return to three albums regularly now: ‘Out Of Time,’ ‘Automatic For The People,’ and ‘Reveal.’ The rest is just songs. Those albums in particular resonate. I’ve never disliked that much of their music (aside from ‘Around The Sun’ – yech), but I’ve never LOVED that much of it either. Those three, however, they got me, if not many other “true” REM fans.
NICK DERISO: It’s a signpost moment for fans of a certain age. None of us is going back to Rockville.
TOM JOHNSON: So now we can expect an R.E.M reunion in … (hang on, doing rock math) … 2016 – with Bill Berry on drums, right?
- Ernesto Cervini’s Turboprop, “When I Fall” (2024): Video premiere - March 15, 2024
- Disaster Pony,“Dead Neon & The Noon Sun” from ‘Disaster Pony’ (2024): Video premiere - February 27, 2024
- Christopher Hoffman, “Farewell Forever” from ‘Vision Is The Identity’ (2024): Streaming premiere - February 19, 2024
