My lord, has it really been 27 years since R.E.M. released Monster? I remember being taken aback by the volume and aggression of this album coming on the heels of 1992’s Automatic For the People, but mostly loving the results.
R.E.M. said they wanted to make a loud album after the mostly acoustic Out of Time and Automatic For the People, and Monster certainly fit the bill. Soaked in reverb, this mashup of glam rock and grunge sounds like nothing else in the band’s catalog, for better and worse.
Continuing the chronological presentation of my 25 favorite songs…
‘(Don’t Go Back To) Rockville‘ – R.E.M. (1984)
If I weren’t limiting my Favorite Songs playlist to one song per artist, R.E.M. is the band that may well have landed more than one track in the lineup. ‘Driver 8,’ ‘Maps and Legends,’ ‘Half a World Away’ and ‘So. Central Rain’ all were finalists for this list.
‘9-9’ (pronounced “nine to nine,” according to bassist Mike Mills) is a deep cut on R.E.M.’s debut album, 1983’s Murmur.
Murmur is a fascinating album because it not only introduced the jangly pop and soulful folk rock that R.E.M. would perfect, but also weird, discordant, soft-punk songs like this one that pointed to some of the odd detours the band would take throughout their career.
It’s a weekend of cover songs from the Random iTunes Fairy. Today’s track was an outtake from the sessions for R.E.M.’s 1986 album Lifes Rich Pageant.
Aerosmith’s ‘Toys in the Attic‘ was the title song, and first track, of a 1975 album that also featured the hits ‘Walk This Way’ and ‘Sweet Emotion.’ Though it reached only #11 on the Billboard chart, that album has sold more copies than any other Aerosmith record.
My favorite album of 1983 is maybe my fifth or sixth favorite album by the band who recorded it. But R.E.M. is so great that their fifth or sixth best album is sure to be better than just about anything else. And that’s the case with Murmur.
The band’s debut album has all of the hallmarks that would make them the godfathers of the alternative rock movement. Jangly guitars, indecipherable lyrics, minor key melodies, soaring choruses, and those wonderful Michael Stipe vocals with just the right combination of earnestness and indifference.