Gardening at Night

According to wikipedia, Michael Stipe called Gardening at Night R.E.M.'s first real composition. Sure seems true. Its a young sounding song. Simple folky strum riff, easy-going rhythm section. Pretty straight forward. I do like the turn-around part towards the end that ramps into the main musical riff. I think the inclusion of that bit of music qualifies the song for "composition" status. It's the smartest part of the song. While I don't love G.A.N. I do think it has a simple charm to it.

Wolves, Lower

The opening song on R.E.M.'s first release has everything that made them great: Hooky guitar riffs, counter-melodic bass, mysterious lyrics and lead vocal, pretty harmonies, cacophonous bridge, driving off-beat hi hat and musical drum fills. It also makes great use of Bill Berry's voice to fill out the chorus harmonies. His singing was their most under-rated asset in my opinion.

There was something about this song that sounded so familiar the first time I heard it. Its certainly "weird" and a little unsettling, but in true form, its layered with a sweetness that brings it back to earth.

The fact that they would put a comma in a two word song title is just hilarious to me. They had a way of riffing on the English language that's pure fun.

Wolves, Lower is upbeat, charming, part brooding and part optimistic . An appropriate first song in their career's catalog.

here's an early fast version of the song:

Little America

Reckoning ends on a great note. I'm not exactly sure what is intended with "Little America", but it sounds like a road song - a light-hearted ditty with a cheery riff that incorporates little glimpses of the guys' early days together touring our great land. How many bands make multiple references to their manager in song? For some reason I always think of Ian Faith's rant in Spinal Tap defending his contribution to the band: finding mandolin strings in Austin, Texas, and "prizing the rent from the local Hebrews".

Of note, after half the tunes on Reckoning end with some unresolved chord, Little America has a big definitive ending that is drawn out in a twelve second fade. And so ends probably the most catalytic album in REM's catalog.

(Don't Go Back To) Rockville

Ok, lots that could be said about this cool little country number, but for better or worse (probably worse) when I hear this I often think about Mike Mills' awkward appearance on Live with Regis and Kathie Lee in 1992. I remember watching this train wreck as it happened. For some reason, Mike goes on the show solo, gives a crappy interview, then proceeds to play a song that (at the time) was ten years old.

And yes, someone put it on YouTube!
click here to gape at the horror.

Camera

Lush, textured, and effective - this tune is one of REM's best ballads. I'm sure if it came out twenty years later, it would be featured on many a reality show, scoring their "meaningful" moments. I dig Michael's take on an old-time crooner, I like the metronome, and the simple organ strains in the back.

But it's the plea of the song and its central metaphor that makes this more than a ballad, but maybe an important song. There's longing and relationship uncertainty, but if I should be your camera, I can capture this moment in time. As memory of our time fades, I can capture little moments, little nuances of what we had. Nice.