Untitled Document

R E M

Athens, GA

R.E.M. was an American rock band from Athens, Georgia, formed in 1980 by singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and drummer Bill Berry. One of the first popular alternative rock bands, R.E.M. gained early attention due to Buck's ringing, arpeggiated guitar style and Stipe's unclear vocals. R.E.M. released its first single, "Radio Free Europe", in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band's first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single "The One I Love". The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.

By the early 1990s, when alternative rock began to experience broad mainstream success, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre and released its two most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), which veered from the band's established sound. R.E.M.'s 1994 release, Monster, was a return to a more rock-oriented sound. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three band members. In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. The following year, Bill Berry left the band, while Buck, Mills, and Stipe continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success. In 2007, the band was inducted into the Rock and Roll Hall of Fame. R.E.M. disbanded in September 2011, announcing the split on its website.^[4]

In January 1980, Michael Stipe met Peter Buck in the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly punk rock and protopunk artists like Patti Smith, Television, and The Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Stipe and Buck soon met fellow students Mike Mills and Bill Berry, who had played music together since high school. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent several months rehearsing and played its first show on April 5, 1980 at a friend's birthday party held in a converted Episcopal church in Athens. After considering names like "Twisted Kites", "Cans of Piss", and "Negro Wives", the band settled on "R.E.M.", which Stipe selected at random from a dictionary.

The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous since a touring circuit for alternative rock bands did not then exist. The group had to tour in an old blue van driven by Holt, and the band members lived on a food allowance of $2 a day.

During the summer of 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In Studios in

. The single was released on the local independent record label Hib-Tone with an initial pressing of one thousand copies, which quickly sold out. Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by The New York Times.

R.E.M. recorded the Chronic Town EP with Mitch Easter in October 1981, and planned to release it on a new indie label named Dasht Hopes. However, I.R.S. Records acquired a demo of the band's first recording session with Easter that had been circulating for months. The band turned down the advances of major label RCA Records in favor of I.R.S., with whom they signed a contract in May 1982. I.R.S. released Chronic Town that August as its first American release. A positive review of the EP by NME praised the songs' auras of mystery, and concluded, "R.E.M. ring true, and it's great to hear something as unforced and cunning as this."

I.R.S. first paired R.E.M. with producer Stephen Hague to record its debut album. Hague's emphasis on technical perfection left the band unsatisfied, and the band members asked the label to let them record with Easter. I.R.S. agreed to a "tryout" session, allowing the band to return to North Carolina and record the song "Pilgrimage" with Easter and producing partner Don Dixon. After hearing the track, I.R.S. permitted the group to record the album with Dixon and Easter. Because of its bad experience with Hague, the band recorded the album via a process of negation, refusing to incorporate rock music clichés such as guitar solos or then-popular synthesizers, in order to give its music a timeless feel. The completed album, Murmur, was greeted with critical acclaim upon its release in 1983, with Rolling Stone listing the album as its record of the year. The album reached number 36 on the

album chart. A re-recorded version of "Radio Free Europe" was the album's lead single and reached number 78 on the Billboard singles chart in 1983. Despite the acclaim awarded the album, Murmur sold only about 200,000 copies, which I.R.S.'s Jay Boberg felt was below expectations.

R.E.M. made its first national television appearance on Late Night with David Letterman in October 1983, during which the group performed a new, unnamed song. The piece, eventually titled "So. Central Rain (I'm Sorry)", became the first single from the band's second album, Reckoning (1984), which was also recorded with Easter and Dixon. The album met with critical acclaim; NME's Mat Snow wrote that Reckoning "confirms R.E.M. as one of the most beautifully exciting groups on the planet". While Reckoning peaked at number 27 on the US album charts—an unusually high chart placing for a college rock band at the time—scant airplay and poor distribution overseas resulted in it charting no higher than number 91 in Britain.

Don Gehman was unable to produce R.E.M.'s fifth album, so he suggested the group work with Scott Litt. Litt would be the producer for the band's next five albums. Document (1987) featured some of Stipe's most openly political lyrics, particularly on "Welcome to the Occupation" and "Exhuming McCarthy", which were reactions to the conservative political environment of the 1980s under American President Ronald Reagan. Jon Pareles of The New York Times wrote in his review of the album, "'Document' is both confident and defiant; if R.E.M. is about to move from cult-band status to mass popularity, the album decrees that the band will get there on its own terms." Document was R.E.M.'s breakthrough album, and the first single "The One I Love" charted in the Top 20 in the US, UK, and Canada. By January 1988, Document had become the group's first album to sell a million copies. In light of the band's breakthrough, the December 1987 cover of Rolling Stone declared R.E.M. "America's Best Rock & Roll Band".

Frustrated that its records did not see satisfactory overseas distribution, R.E.M. left I.R.S. when its contract expired and signed with the major label Warner Bros. Records. Though other labels offered more money, R.E.M. ultimately signed with Warner Bros.—reportedly for an amount between $6 million and $12 million—due to the company's assurance of total creative freedom. In 1988, I.R.S. released the compilation Eponymous, which included most of the band's singles and a number of rarities. The band's 1988 Warner Bros. debut, Green, was recorded in Nashville, Tennessee, and showcased the group experimenting with its sound. The record's tracks ranged from the upbeat first single "Stand" (a hit in the United States), to more political material, like the rock-oriented "Orange Crush" and "World Leader Pretend", which address the Vietnam War and the Cold War, respectively. Green has gone on to sell four million copies worldwide. The band supported the album with its biggest and most visually developed tour to date, featuring back-projections and art films playing on the stage. After the Green tour, the band members unofficially decided to take the following year off, the first extended break in the band's career. R.E.M. released the video album Tourfilm in 1990 to document the Green World Tour and Warner Bros. also issued the music video compilation Pop Screen to collect videos from the Document and Green period.

R.E.M. reconvened in mid-1990 to record its seventh album, Out of Time. In a departure from Green, the band members often wrote the music with non-traditional rock instrumentation including mandolin, organ, and acoustic guitar instead of adding them as overdubs later in the creative process. Released in March 1991, Out of Time was the band's first album to top both the US and UK charts. The record eventually sold 4.2 million copies in the US alone, and about 12 million copies worldwide by 1996. The album's lead single "Losing My Religion" was a worldwide hit that received heavy rotation on radio, as did the music video on MTV. "Losing My Religion" was R.E.M.'s highest-charting single in the US, reaching number four on the Billboard charts. "There've been very few life-changing events in our career because our career has been so gradual," Mills said years later. "If you want to talk about life changing, I think 'Losing My Religion' is the closest it gets". The album's second single, "Shiny Happy People" (one of three songs on the record to feature vocals from Kate Pierson of fellow Athens band The B-52's), was also a major hit, reaching number 10 in the US and number six in the UK.Out of Time garnered R.E.M. seven nominations at the 1992 Grammy Awards, the most nominations of any artist that year. The band won three awards: one for Best Alternative Music Album and two for "Losing My Religion", Best Short Form Music Video and Best Pop Performance by a Duo or Group with Vocal.R.E.M. did not tour to promote Out of Time; instead the group played a series of one-off shows, including an appearance taped for an episode of MTV Unplugged and released music videos for each song on the video album This Film Is On.

After spending some months off, R.E.M. returned to the studio in 1991 to record its next album. Late in 1992, the band released Automatic for the People. Though the group had intended to make a harder-rocking album after the softer textures of Out of Time, the somber Automatic for the People "[seemed] to move at an even more agonized crawl", according to Melody Maker. The album dealt with themes of loss and mourning inspired by "that sense of ... turning thirty", according to Buck. Several songs featured string arrangements by former Led Zeppelin bassist John Paul Jones. Considered by a number of critics (as well as by Buck and Mills) to be the band's best album, Automatic for the People reached numbers one and two on UK and US charts, respectively, and generated the American Top 40 hit singles "Drive", "Man on the Moon", and "Everybody Hurts". The album would sell about ten million copies worldwide. As with Out of Time, there was no tour in support of the album. The decision to forgo a tour, in conjunction with Stipe's physical appearance, generated rumors that the singer was dying or HIV-positive, which were vehemently denied by the band.

After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, "a 'rock' record, with the rock in quotation marks." In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles "What's the Frequency, Kenneth?" and "Bang and Blame" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled their music videos from Automatic for the People and Monster for release as Parallel in 1995.

In January 1995 R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster Tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. Performances from the tour would be released in home video form as Road Movie.

R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer, Bertis Downs, assumed managerial duties.

In a 1988 interview, Peter Buck described typical R.E.M. songs as, "Minor key, mid-tempo, enigmatic, semi-folk-rock-balladish things. That's what everyone thinks and to a certain degree, that's true." All songwriting is credited to the entire band, even though individual members are sometimes responsible for writing the majority of a particular song. Each member is given an equal vote in the songwriting process; however, Buck has conceded that Stipe, as the band's lyricist, can rarely be persuaded to follow an idea he does not favor. Among the original line-up, there were divisions of labor in the songwriting process: Stipe would write lyrics and devise melodies, Buck would edge the band in new musical directions, and Mills and Berry would fine-tune the compositions due to their greater musical experience.

Michael Stipe sings in what R.E.M. biographer David Buckley described as "wailing, keening, arching vocal figures". Stipe often harmonizes with Mills in songs; in the chorus for "Stand", Mills and Stipe alternate singing lyrics, creating a dialogue. Early articles about the band focused on Stipe's singing style (described as "mumbling" by The Washington Post), which often rendered his lyrics indecipherable Creem writer John Morthland wrote in his review of Murmur, "I still have no idea what these songs are about, because neither me nor anyone else I know has ever been able to discern R.E.M.'s lyrics." Stipe commented in 1984, "It's just the way I sing. If I tried to control it, it would be pretty false." Producer Joe Boyd convinced Stipe to begin singing more clearly during the recording of Fables of the Reconstruction.

Stipe insisted that many of his early lyrics were "nonsense", saying in a 1994 online chat, "You all know there aren't words, per se, to a lot of the early stuff. I can't even remember them." In truth, Stipe carefully crafted the lyrics to many early R.E.M. songs. Stipe explained in 1984 that when he started writing lyrics they were like "simple pictures", but after a year he grew tired of the approach and "started experimenting with lyrics that didn't make exact linear sense, and it's just gone from there." In the mid-1980s, as Stipe's pronunciation while singing became clearer, the band decided that its lyrics should convey ideas on a more literal level. Mills explained, "After you've made three records and you've written several songs and they've gotten better and better lyrically the next step would be to have somebody question you and say, are you saying anything? And Michael had the confidence at that point to say yes . . ." Songs like "Cuyahoga" and "Fall on Me" on Lifes Rich Pageant dealt with such concerns as pollution. Stipe incorporated more politically-oriented concerns into his lyrics on Document and Green. "Our political activism and the content of the songs was just a reaction to where we were, and what we were surrounded by, which was just abject horror," Stipe said later. "In 1987 and '88 there was nothing to do but be active." Stipe has since explored other lyrical topics. Automatic for the People dealt with "mortality and dying. Pretty turgid stuff", according to Stipe, while Monster critiqued love and mass culture.

Peter Buck's style of playing guitar has been singled out by many as the most distinctive aspect of R.E.M.'s music. During the 1980s, Buck's "economical, arpeggiated, poetic" style reminded British music journalists of 1960s American folk rock band The Byrds. Buck has stated "[Byrds guitarist] Roger McGuinn was a big influence on me as a guitar player", but said it was Byrds-influenced bands, including Big Star and The Soft Boys, that inspired him more. Comparisons were also made with the guitar playing of Johnny Marr of alternative rock contemporaries The Smiths. While Buck professed being a fan of the group, he admitted he initially criticized the band simply because he was tired of fans asking him if he was influenced by Marr, whose band had in fact made their debut after R.E.M. Buck generally eschews guitar solos; he explained in 2002, "I know that when guitarists rip into this hot solo, people go nuts, but I don't write songs that suit that, and I am not interested in that. I can do it if I have to, but I don't like it." Mike Mills' melodic approach to bass playing is inspired by Paul McCartney of The Beatles and Chris Squire of Yes; Mills has said, "I always played a melodic bass, like a piano bass in some ways . . . I never wanted to play the traditional locked into the kick drum, root note bass work." Mills has more musical training than his band mates, which he has said "made it easier to turn abstract musical ideas into reality."

R.E.M. was pivotal in the creation and development of the alternative rock genre. Allmusic stated, "R.E.M. mark the point when post-punk turned into alternative rock." In the early 1980s, the musical style of R.E.M. stood in contrast to the post-punk and New Wave genres that had preceded it. Music journalist Simon Reynolds noted that the post-punk movement of the late 1970s and early 1980s "had taken whole swaths of music off the menu", particularly that of the 1960s, and that "After postpunk's demystification and New Pop's schematics, it felt liberating to listen to music rooted in mystical awe and blissed-out surrender." Reynolds declared R.E.M., a band that recalled the music of the 1960s with its "plangent guitar chimes and folk-styled vocals" and who "wistfully and abstractly conjured visions and new frontiers for America", one of "the two most important alt-rock bands of the day." With the release of Murmur, R.E.M. had the most impact musically and commercially of the developing alternative genre's early groups, leaving in its wake a number of jangle pop followers.

R.E.M.'s early breakthrough success served as an inspiration for other alternative bands. Spin referred to the "R.E.M. model"—career decisions that R.E.M. made which set guidelines for other underground artists to follow in their own careers. Spin's Charles Aaron wrote that by 1985, "They'd shown how far an underground, punk-inspired rock band could go within the industry without whoring out its artistic integrity in any obvious way. They'd figured out how to buy in, not sellout-in other words, they'd achieved the American Bohemian Dream." Steve Wynn of Dream Syndicate said, "They invented a whole new ballgame for all of the other bands to follow whether it was Sonic Youth or the Replacements or Nirvana or Butthole Surfers. R.E.M. staked the claim. Musically, the bands did different things, but R.E.M. was first to show us you can be big and still be cool." Biographer David Buckley stated that between 1991 and 1994, a period that saw the band sell an estimated 30 million albums, R.E.M. "asserted themselves as rivals to U2 for the title of biggest rock band in the world." Over the course of its career, the band has sold over 70 million records.

Later alternative bands such as Nirvana, Pavement, and Live have drawn inspiration from R.E.M.'s music. "When I was 15 years old in Richmond, Virginia, they were a very important part of my life," Pavement's Bob Nastanovich said, "as they were for all the members of our band." Pavement devoted the song "Unseen Power of the Picket Fence" from the No Alternative compilation (1993) to discussing R.E.M's first two albums at length. Kurt Cobain of Nirvana was a vocal fan of R.E.M., and had plans to collaborate on a musical project with Stipe before his death in April 1994. Cobain told Rolling Stone in an interview earlier that year, "I don’t know how that band does what they do. God, they’re the greatest. They’ve dealt with their success like saints, and they keep delivering great music."

Throughout R.E.M.'s career, its members sought to highlight social and political issues. According to the Los Angeles Times, R.E.M. was considered to be one of the United States' "most liberal and politically correct rock groups." The band's members were "on the same page" politically, sharing a liberal and progressive outlook. Mills admitted that there was occasionally dissension between band members on what causes they might support, but acknowledged "Out of respect for the people who disagree, those discussions tend to stay in-house, just because we'd rather not let people know where the divisions lie, so people can't exploit them for their own purposes." An example is that in 1990 Buck noted that Stipe was involved with People for the Ethical Treatment of Animals, but the rest of the band were not.

R.E.M. helped raise funds for environmental, feminist and human rights causes, and were involved in campaigns to encourage voter registration. During the Green tour, Stipe took time during sets to inform the audience about a variety of pressing socio-political issues. Through the late 1980s and 1990s, the band (particularly Stipe) increasingly used its media coverage on national television to mention a variety of causes it felt were important. One example is when the band attended the 1991 MTV Video Music Awards, during which Stipe wore a half-dozen white shirts emblazoned with slogans including "rainforest", "love knows no colors", and "handgun control now". R.E.M. helped raise awareness of Aung San Suu Kyi and human rights violations in Burma, when they worked with the Freedom Campaign and the US Campaign for Burma. Stipe himself ran ads for the 1988 supporting Democratic presidential candidate and Massachusetts governor Michael Dukakis over then-Vice President George H. W. Bush. In 2004, the band participated in the Vote for Change tour that sought to mobilize American voters to support Democratic presidential candidate John Kerry. R.E.M.'s political stance, particularly coming from a wealthy rock band under contract to a label owned by a multinational corporation, received criticism from former Q editor Paul Du Noyer, who criticized the band's "celebrity liberalism", saying, "It's an entirely pain-free form of rebellion that they're adopting. There's no risk involved in it whatsoever, but quite a bit of shoring up of customer loyalty."

From the late 1980s, R.E.M. was involved in the local politics of its hometown of Athens, Georgia. Buck explained to Sounds in 1987, "Michael always says think local and act local—we have been doing a lot of stuff in our town to try and make it a better place." The band often donated funds to local charities and to help renovate and preserve historic buildings in the town. R.E.M.'s political clout was credited with the narrow election of Athens mayor Gwen O'Looney twice in the 1990s.