It's the End of the Wolrd As We Know It (And I Feel Fine)

It's a little unnerving to even offer any thoughts on this tune because it is probably the single most referenced and utilized song in the REM catalog. When your song is in "Independence Day", is played after the Red Sox win the Series, and is banned on Clear Channel stations after 9/11, you know you're big time.

What I will say, however, is that for all its novelty and over exposure, "End of the World" is very much part of conversation that is Document. Politically, it's aiming for the bleachers, but all the while oozing whimsy.

I don't know if the band has ever released the definitive lyrics, but a quick search online shows some pretty rangy discrepancies: Is it look at that low playing or low plane? Is it don't get caught in foreign tower or Warren Tower? Is it the other night I tripped a nice continental drift divide? or ...I dreamt of knives, continental drift divide?

Strange

Here we have a rarity - a cover tune on an REM studio album. "Strange" was originally recorded by British punkers, Wire. I think - and someone correct me - the only other cover on a studio release up to this point in the catalog was "Superman". But those fans who know the broader catalog of bootlegs, live shows, EPs, and such will recognize the band's efforts to be themselves fans and caretakers of music.

This tune at the not-quite-midsection of Document is well chosen. It powers through in a fun but raw break from the slightly heavy earlier tunes. Lyrically, it fits in well, making a statement that suits the vibe of the album: There's something going on that's not quite right.

Anyone else hear a similar take on the guitar solo here and on "The One I Love"?

Disturbance at the Heron House

I realize I've been maybe a bit nit-picky with the overt political messages in Document thus far. But here, four cuts in, they get it right. "Disturbance" is a great tune on a few different levels, but upfront, it's a spot-on political song about smaller voices being hushed and displaced. As recently as last year, Stipe suggested that the song reflects his take on Animal Farm, "an uprising dismissed by the powers that be." The protest is decidedly meek without losing strength.

Matched with this self-aware lyric is essential late-IRS era REM: Bills drums are arena big, Pete's guitar is both riffy and crunchy, Mike's bass is melodic, and the usual whiny nature of his vocals (with Michael doing double duty harmonizing with himself) actually serves the nature of the song well.

All that and it uses "monkeys" three times in one line.

Exhuming McCarthy

For those REM fans who bemoan the fact that Michael's lyrics are so murky and hard to discern, here's a song for you. This ditty spits out words, and slaps you about the face with them a few times. But they're kind of a jumbled mess - and not in the clever, tongue-in-cheek way of "It's the End of the World...", but in the this-is-scathing-Reagan-era-commentary-but-we-don't-really-have-a-point kind of way.

Which is a shame, because underneath the singing is a solid tune that marks a great departure for the guys. Not since "Can't Get There From Here" has REM offered up something so rich in Motown tradition. Don't buy it? Listen again, try to tune out Mike and Michael. Now listen to "Ain't Too Proud to Beg" by the Temptations. It's all there: baritone sax, congas, bouncy bass line, tambourine. But no, that all gets overpowered by snarky leftist rhetoric. No sense of decency...