#773: r.e.m. - sitting still (1984)
one of the unalloyed triumphs in the long history of terribly poor rock ‘n’ roll enunciation.


#773: r.e.m. - sitting still (1984)
one of the unalloyed triumphs in the long history of terribly poor rock ‘n’ roll enunciation.
#761: the monkees - assorted nick rock tv (1987)
how is there a world in which nickelodeon was a channel where the monkees introduced grateful dead videos (and squeeze!) while giving awards to michael jackson’s bad? i was two and no one told me about it.
now that i think about it, though, there’s the video of r.e.m. playing so. central rain on nickelodeon in 1983 really beautifully. with the kid in the audience fighting the security guard in the beginning!
#690: orange juice - rip it up (1982)
there’s something wonderfully and just impossibly cool about the music that was made right before i was born in november 1984. the guitars don’t only have sheen, they preen; the bass lines are pelvic; the drums cuff and snap; and the vocals, of course, were all recorded in denim jackets on chaise longues.
i’m talking about orange juice, the smiths, the monochrome set, and orchestral manoeuvres in the dark. plus lots of elvis costello and lots and lots of early r.e.m.. and some public image ltd. and talking heads/tom tom club, certain cure hits, a dabble of kraftwerk, the jonzun crew, even the late malcolm mclaren. they’re songs that make me nostalgic for something that i know deep down i never had in the first place.
#590: r.e.m. - fall on me (mtv unplugged) (1991)
did you know that this was the single worst week for album sales since 1991? the weird thing about the news isn’t that cds are selling poorly, it’s that they weren’t selling like drug-laced hotcakes back in ‘91. surely nirvana, r.e.m., a tribe called quest or the elegant bachelors of stone temple pilots were moving a few units?
indeed they were! the “worst week” headline is a tiny bit misleading: sales are the lowest since ‘91 because that’s when nielen soundscan started tracking them.
and now you know, and can relax while michael stipe sings prettily about the sky.
#470: r.e.m. - wendell gee (live, 1985)
young michael stipe fit three decades of extremely good hair styles into r.e.m.’s two best years: first the ’70s curls for the band’s 1984 t.v. debut, which a year later had grown into the ’60s jumble sported here (with ray bans, naturally), followed a few months later by the very short and very bleached 90’s look. bill berry’s hair changed too, but not for the better—though he looks quite good whistling here. more importantly, wendell gee, which doesn’t sound very interesting on record, quiets down to a pretty little attic ballad here, like tom waits’ georgia lee but slightly less devastating.
#354: r.e.m. - electrolite (1996)
michael stipe once said that staring at los angeles from mulholland drive was like looking at bioluminescent fish, which a nice metaphor. but staring at upside-down plastic animals, shiny birthday balloons, fake silent interviews, people stuck in balls and chains, people driving dune buggies, bongo players in boas and accordion players in living rooms with fog machines is not a metaphor for anything, though it still makes for a good video. more importantly, electrolite’s surprise-packed black-and-white ending might secretly be the best minute in all of 90s alt rock.
it helps that the tune is awfully pretty, though it’s a little too pretty for a song about los angeles’ evils. but maybe that’s a metaphor for people like this guy?
michael stipe knows that when a true gentleman goes bald he has to constantly surround himself with big and bright and shiny neon lights, wear lots of red jumpsuits, and make nifty gun signs at people to distract them from his dying hairline.
image #33: r.e.m.’s chronic town ep (1982)
a good indie rock album cover featuring a gargoyle sticking its tongue out is like a fine wine: it only grows finer with age. and speaking of which:
in today’s paper! i wrote about the wine-liking baron eric de rothschild, two tisch brothers spending massive amounts for massive real estate, and a hip hotelier that likes to remind people he knew heath ledger.
and last week’s column had noted tom waits scholar scarlet johansson selling nonchalantly, a hearst widow selling to settle some debts, and a poor bear stearns exec buying before his firm tanked.
#113: r.e.m. - radio free europe (1983, letterman)
elvis costello had radio radio and radio sweetheart, public enemy had how to kill a radio consultant, ll cool j had i can’t live without my radio, patti smith had radio ethiopia, and nirvana even had their radio friendly unit shifter, but none of them had the chorus of the first song on r.e.m.’s first album.
it’s a chorus that thwacks, thwaps and jangles, and it bounces (like this), cries (like this), and then it hooks. and it’s a chorus that needed to be on the radio so badly that a whole new kind of FM station—college rock—was invented around it. plus, young david letterman seems to like it, which is groovy.
#55: r.e.m. - so. central rain (1983)
hey kids! did you know that nickelodeon had a teen talk show the early ’80s called livewire? it was super great. the opening sequence, with neon and everything, was basically the most neat-o thing of the decade.
not only is this post-punk r.e.m. classic great to hear live, but the show’s host, a cable ace award winner (and havard business school alumnus) named fred newman, happens to get into a fight with the show’s director right at the beginning, and then plays it off by doing a little dance with the crowd.
speaking of which, there’s some seriously cool 1983 skanking in this video. and speaking of 1983, michael stipe’s long hair doesn’t look half bad. i think i’ll grow my locks out.
#54: r.e.m. - (don’t go back to) rockville (1984)
not only does this break the time-honored law that all songs with parenthetical titles are bad, but it has the added bonus of being from 1984, just like me.
plus, it has the best use of the twangy rickenbacker guitar since the byrds. (though as it happens, r.e.m. originally played the song in a “punk/thrash” style, but recorded this version with a country lilt as a joke for their manager.)
and there’s an essential little harmony from the bassist, mike mills, who wrote the song. and it makes sense he wrote it, because this is about a guy getting left by a girlfriend who’s going back to her hometown in maryland. and the only kind of rockstar that gets left by his maryland-bound girlfriend is a bass player. drummers don’t get ditched.