#470 - R.E.M. - Document

I’ve never really familiarized myself with the entire collective of R.E.M.’s catalog, but they have always been one of those bands which I liked (based upon their singles). Document offers up two of their greatest radio hits in “It’s the End of the World as We Know It” and “The One I Love.” I don’t feel I need to say much about those two songs, because most of us are familiar with them if we are roughly the age 25-30. For everyone else, younger and older, if you are not familiar with this band, you should be.

Truth is, this album does everything right. It takes the independent music feel of earlier R.E.M. albums (I did some auditory research) and incorporates their newly awarded and stylistic altering ability to create an album that became mainstream without losing those assets that initially made the band unique. It is around this time, that R.E.M. started to dabble in mandolin; an instrument that has made a few appearances in the albums that would follow Document.

I also appreciate the fact that this band had something to say during a time where lyrics seemed to be getting more and more ridiculous (see Def Leppard) and nonsensical (see most 80’s pop groups). Document presents itself as an outcry to society during and after the Reagan administration. It doesn’t take much analyzing to figure out that Stipe and Co. are trying to draw some parallels with history. Is that a senate hearing involving Joseph McCarthy I hear in the background? The band also provides a cover of a song that will appear on a to be reviewed album (Wire’s “Strange”). Ok, I said I didn’t need to mention them, but really, how great are those two radio hits? “The One I Love” is able to be a wonderfully singable tune while being completely melodramatic. And I once saw No Doubt perform “It’s the End of the World as We Know It.” I can’t remember, but I think it was during some New Year’s Eve special during concerns over Y2K. Makes sense. Regardless, although Stipe wasn’t the first, nor the last, to create a rap-rock ramble, his attempt seems to have a lot more to say than most. This might be why the song remains relevant over the years.

Yep, found the No Doubt version. Deduction of points for the fact that Stefani had to use cue cards for the lyrics. Double deduction for making “Hollaback Girl” and ruining your band’s legacy and hurting my brain.

By the way, this might induce vomiting from Michael: I once saw R.E.M. live and in concert with none other than......Bruce Springsteen. It was epic. Clarence brought his 'A' game.

By the way, Stipe is a goofy dude, but we've all known this.

-d.

I have very mixed feelings about R.E.M.. I find a lot of their output pretty ….annoying. Nonetheless, alternative rock wouldn’t exist in it’s current form without them, and for that I have to give the band much love. But to break down my feelings about them, they just come across to me as inconsistent. When they’re on top of it, very few can do it better. But when they aren’t…..wow. Just wow.

So what about Document? Thankfully it falls solidly into the former category. Not as hard as Monster, but also no “Shiny Happy People," so I call that breaking even (I know it‘s actually a whole big anti-complacency message, I still hate that song). Also this is by far their most political album, calling out Reagan and run away consumerism. The insanely catchy pop of “Exhuming McCarthy” is pretty much one giant misdirect as they attack that old hallmark of conservatism; exceptionalism. This song reminds me of my mothers opinion of reggae, and how she always gets thrown off by the major key harmonies and danceable riddims that belie the lyrics calling for revolution or recounting violence and poverty. Same general idea here.

A note on hand claps. I hate them. That is all.

“Finest Worksong” is actually pretty rocking and starts with what has to be the biggest drum sound R.E.M. ever recorded. I had never paid much attention to this track, but man it has grown on me the last few days. Just some fantastic attention to small details. Constantly grinding guitars with a classic hard rock dive bomb every so often. Killer outro with some-LEONARD BERNSTEIN!!!!!!! -great bass playing and perfect use of touch harmonics. Just can’t find any fault with that song. Really, even the tracks that don’t stand out still offer something of interest. “Fireplace” has a completely random burst of acid jazz saxophone that somehow is a great fit. “King of Birds” features a marching beat and some wild shredding on dulcimer. Seriously, dulcimer.

Let’s touch on the hits. “It’s the End of the World As We Know It (and I Feel Fine)” is everything you remember. Which means (as Tommy Boy so perfectly recounted) ‘that’s right it starts with an earthquake…mumble mumble…..’. Really though, it’s just a great song. For the most part the conglomeration of words is pretty random, but many seem to spell out an image of ‘50s cold war hysteria and fear, as well as references to the biblical apocalypse. Throw in the supremely singable hook and how can you go wrong? Right? Right. As for “The One I Love”, this may be the best song about emotionally crippled people using each other for meaningless relationships ever written. Plus, with so many people blindly thinking it’s a love song and requesting it on the radio for valentine’s day it makes things even more fun. Unique side story, the photographer on the video was Alton Brown of Food Network fame. Your welcome.

I don’t see much point in going further into the songs. Your probably either have the album already or don’t care for the band. It’s strange to think that this record is about 24 years old. It still seems modern, which is a great credit to the bands ability to stay ahead of the times. Plus I remember seeing the videos for these songs on tv, and I refuse to acknowledge that I’m getting old. I wonder how old that kid with the skateboard is now and if that house has collapsed yet. I have a fascination with old abandoned buildings so maybe that’s why it sticks in my mind. Anyway, good stuff.

You all need to watch this. It’s unbelievable.