R.E.M. News

Second Edition of R.E.M. Companion Book Published

"New Adventures in Hi-Fi" Now in Stores

How the West Was Won and Where It Got Us

(orig. titled "Hail Grant!") Features Buck on bass, guitar, mandolin, and bozouki (a Greek stringed instrument). Says Buck, "I doubled it with the guitars. It's supposed to sound Ennio Morricone-ish." Also from Buck: "A reggae kind of thing. I think it's a result of a lot of music that's been happenning in England in the last couple of years and hip-hop stuff, which, while not hugely influential on all of us, is something we all listen to. It's somehow managed to creep into the studio in Seattle, surprising us probably more than anyone else. It's probably my favorite song on the record."

The Wake-Up Bomb

Buck: "It's kind of a glam rock stomper in the style of T-Rex. Coincidentally, written about the whole glam rock scene that's happening in New York now. I know that Michael spent some time visiting clubs in New York where all the 23-year-olds dressed exactly like we did when we were 17, 18 and 19. I think the song is kind of an ironic commentary on that. Certainly, the T-Rex influence is at the foremost on that track." Mills calls it "a big loud stupid rock song."

New Test Leper

Says Buck: "A folk-rocky type thing, it's probably the most traditional R.E.M. song on the record, written about a guest on a talk show that Michael happened to see while we were writing this record. Somehow, it's kind of a heartfelt commentary on it. I can't even think about those talk shows without cringing, myself. Living in America, we live next to them everyday."

Undertow

Features touring musicians Scott McCaughey on ARP Odyssey and Nathan December on guitar. Says Buck, "Whether it is literally or metaphorically, it's about someone drowning... Being on tour seems like a drowning situation sometimes. It is a song that we wrote and recorded while on tour using an antiquated arp synthesiser. That's what is making the white noise sound. I think some of the guitar mess on there might be a direct result of having toured with Sonic Youth. So this is our Sonic Youth-influenced song."

E-bow The Letter

Buck: "A dirge-like folk song in which we collaborate with Patti Smith - one of my idols from my teenage years. We wrote the song kind of with her in mind as the person who would sing the chorus. It was probably the thrill of my life musically to actually be in the same room with her singing the song I wrote. She changed my life in a real literal way in 1976 when I saw her play live. She changed my perception of what music was." As the title suggests, Buck uses an E-bow on the track."

Leave

Features McCaughey again on ARP. The seven-minute-plus song begins with a quiet acoustic passage before exploding into a rocker with a persistent siren-like sound. "Scott's holding down a key and moving the octave switch back and forth through the whole song," says Buck. "We could only play it once every other sound check, because Scott's wrist would be numb by the end of it. I have no idea of how to describe it. It's a large, noisy, clanky, synthesiser-driven rock 'n' roll song. It was the very last song that was written and recorded and mixed for the record. It also has the arp synthesiser which is so noisy and kind of discordant. I think there might be a little of Public Enemy influence in there somewhere."

Departure

"It's literally a road song," says Buck. "Pretty much just a recounting lyrically of a trip that we took from Singapore to Spain - with little interjections of trips from the past. It's definitely a road song written at Roadshack, with one good chord for the verse and two for the chorus and anything more would be extraneous. Michael wrote the lyrics on a plane flight from Singapore to San Sebastian, Spain,"

Bittersweet Me

"The second single on the record and it's kind of a disappointed love song - I don't know. Basically, the song is in two parts - the quiet pretty verse and the really noisy cranky chorus and somehow they almost make sense together. For me, it's all snapshots. I remember ending up with the initial riff at the Shoreline Amphitheatre in San Francisco. It was the first show when Bill came back from his aneurysm."

Be Mine

Buck: "It's a kind of a Valentine in a way. Originally Michael had planned to write all the lyrics. And either take it from these heart-shaped candies that you get on Valentine's Day or particularly obnoxious Valentine's Days cards. I think in the writing he felt that it could be a little bit closer to his heart and not such a cynical thing. So, in fact it is quite a moving song. It features Mike Mills on guitar and it's kind of a weird little ballad." Mills says, "We had one version that I recorded by myself on the bus that will probably turn up somewhere as a B-side."

Binky The Doormat

"By far the worst title of any song that we've ever written" says Buck. "It's taken from a Bobcat Goldthwait movie called 'Shakes The Clown', where Binky is a clown who allows people to walk on him - at least he thinks so The character in this song is a real grump. We recorded this one live and it's basically a live track with all the audience subtracted. For some reason, Michael got really obsessed with that movie while we were making this record."

Zither

Says Mills, "It was recorded in a dressing room. I think Scott was actually in the bathroom with the autoharp. We like to do instrumentals." Adds Buck: "The only instrumental on the record. We recorded it and put it on the album because we recorded it live to a DAT machine in the shower stall of a hall in Philadelphia where we were touring. It's the kind of thing you do backstage. It's not a great romantic moment - but it's an interesting little piece. And I like it that we can say: 'Yes, it was recorded live in a bathroom.'"

So Fast, So Numb

Says Buck, "Someone said, 'Is that a drug song?' and I never have thought about that. That is something that doesn't occur around us a whole lot, but it seems like it is a warning to someone for behavior, maybe just emotional behavior."

Low Desert

"When it was originally written before it had lyrics, it was called 'Swamp', and toward the end of the tour, Michael said, 'It wasn't a swamp song, I wrote the words and said it was a desert song.' So it was definitely, somehow or other, going to be a landscape song. Michael is writing about a trip that he imagined that he took. Featuring the great slide guitar."

Electrolite

Mills says, "It was written on piano, so it has a different feel." Adds Buck, "It's hard to drive over Mulholland [Drive in Los Angeles] and not feel like a movie star, but I don't know what you feel like when you hit bottom and go down the bottom of the hill. Probably, the folksiest song on the record. It features banjo, violin and recounts a trip up and down Mullholland Drive in Los Angeles overlooking the big city and the kind of things that it can make you feel. Great violin solo by a friend of ours, Andy Carlsson - who is not actually a member of the band, but has worked with us in the past."

Promotional Flurry for R.E.M.'s "New Adventures in Hi Fi"

In the 15 minute promo video for the new album, the band members reflect on the new album:

Bill Berry:
"I love this record. You know we've never been able to make a record and tour at the same exact time. There are definitely live elements of this record that you don't hear on any of our others."

"For us, going to soundcheck used to mean 'let's get this over with and go have dinner.' This was actually a time where we could do something creative, which really broke up the monotony of touring, which is mindboggling after a while."

Mike Mills:
"This record sort of epitomizes what it is to be in a band, you know, you tour, you write songs, you play songs and you put out a record."

Peter Buck:
"Michael and I talked a little bit about trying to capture the whirling, chaotic aspect of touring without actually writing songs about being on the road. Mitch Easter used to say that if you wrote songs with 'on the road' in the title or lyrics, then you shouldn't be a musician any more."

"Whenever we tour again, I'm going to insist that we do something of this nature. The last day of the tour we spent an hour and a half at soundcheck - We were all energized - We were really excited - It kept me really interested."

Michael Stipe:
"My idea of the record is that we're somehow grafting together stuff that's recorded live with stuff that's recorded in the studio, and you can't really tell what's what. It's kind of a like a new sound, although it kind of sounds like early Mott the Hoople a little bit."

"We've only been off the road for four months and we didn't want to lose the momentum of the stuff we had written and recorded during the tour. So it's kind of like we're still a little bit on the road, and when you're on the road you do things fast, so we're making this record a lot faster."

"Themes? You know, despair, hopelessness, death, all the usual jolly topics. I don't know, it's really hard to tell because we're still making it (the interview was shot in April). It does kinda seem like there's some fear and some despair, some death, and there's some religious imagery that's going to be probably a lot more made of than should be."

(Stipe later adds "Don't confuse the singer with the song. I've said that a zillion times.")

"I really wanted this record to have heart."

Berry, Mills and Buck each comment that "How The West Was Won And Where it Got Us" is their current favorite, mainly because it was the newest song at the time of the interview, but also because of the way it grew in a few hours from a piano/drum jam to a fully-realized song including Michael's lyrics.

Regarding "E-Bow The Letter," the song was simply titled "E-Bow" at the time the film was shot ("I don't know what it will be titled on the record" comments Buck).

(the following is from the 8/10/96 issue of Billboard, transcribed by Alanna Baker)

Road Movie will be released on home video and laserdisc October 1. It will debut at the Edinburgh Film Festival, and will be shown at other festivals in Hamburg, Spain, Tokyo, and Toronto (maybe).

"The first single, 'E-Bow the Letter', will go to all rock radio formats Aug 14. A videoclip directed by Jem Cohen for the track, featuring R.E.M. in performance in L.A. and guest backing vocalist Patti Smith, who was filmed on location in Prague, will have its world premiere on MTV about the same time that the single hits radio.... The video for the second single, 'Bittersweet Me', directed by Dominic de Joseph, has been shot. Two more clips will be shot in December."

"To drum up excitement for the release of the album, Warner Bros will hold playback parties for radio and retail in major markets at high-end radio shops to play off the album's title. Prerelease parties will be held at college campuses around the country. A call-in radio show, featuring the band and some kind of musical element, is a possibility."

[in five major markets] "'Road Movie' will be projected onto the sides of buildings in parking lots near record stores aas a prelude to midnight sales. 'We'll have 3,000 or 4,000 kids in a parking lot near Tower Records watching a live R.E.M. concert, as well as a half-hour "making-of-the-album" [electronic press kit]. We will premiere the video and parts of the album, and then at midnight, the album will go on sale.', Gold says. While sites for the prerelease events had not been confirmed at press time, Gold says New York, L.A., and Atlanta will be likely targets."

"Promotional pieces that will go out to radio and retail include a series of postcards tying into the album's travelling theme, as well as a promotional Viewmaster. In addition, Warner Bros will spread the word about "NAIHF" on its World Wide Web site on the Internet with soundclips, videoclips, artwork, and photographs. The entire album may be 'cybercast' (or broadcast) on the Internet prior to its release. In addition, an electronic press kit on the making of the album will be shown on Continental Airlines in September, while the video for 'E-Bow the Letter' will be show on American and Delta in September. Continental will have a dedicated R.E.M. channel."

"In the U.K., 'E-Bow the Letter' will be released Aug 19. Warner Bros (U.K.) director of marketing Tony McGuinness says the company's British marketing strategy for the album and the single will reflect the band's 'arty, enigmatic, cool' image.... McGuiness says the company will implement its biggest in-store promotion of the year, involving all the major retailers. A national TV campaign will begin the week of the album's release, and the press campaign will include a series of teaser ads, a first for Warner Bros in the U.K."

at the end, Peter says, "I wouldn't put $1 million on it [touring in the future], but I want to do another tour, and I want to do it before my kids start school, so we can take them with us."

More on "New Adventures in Hi Fi"

Addicted To Noise editor Michael Goldberg reports:
As usual, there won't be a photo of R.E.M. on the cover of the group's upcoming album, which is titled New Adventures In Hi-Fi. What you will find are some long songs, and plenty of them; the album clocks in at 65 minutes, 25 seconds. Six of the album's 14 songs are over five minutes long, including "Leave," which is a substantial seven minutes, seventeen seconds.

The album, out September 10, was produced by Scott Litt. Four songs--"Departure," "Undertow," "Binky the Doormat" and "The Wake-up Bomb" were written and recorded backstage and at sound checks during the group's 1995 "Monster" world tour (those tracks were then worked on in the studio). The other ten-- "E-bow The Letter," "How the West Was Won and Where It Got Us," "Bittersweet Me," "New Test Leper," "Be Mine," "Zither," "So Fast, So Numb," "Low Desert," "Electrolite" and "Leave"--were recorded at studios in Los Angeles, Seattle, and Athens, Georgia, although most of the work took place in Seattle according to a source close to the band.

Patti Smith, who has become friends with Michael Stipe, makes a high-profile appearance on "E-bow The Letter." "For those who have heard it [the album], the common comparison is that it falls between Automatic For The People and Monster," says our source. "It has the depth and range of Automatic. It's a deeper, richer album like Automatic, but like Monster it's a guitar raging kind of album. At least some of the songs hark back to 'What's the Frequency, Kenneth?' and 'Star 69.' It has better rock stuff than Automatic. The softer stuff is very strong too. It hits a lot of places across the spectrum: acoustic guitar moments, drumless moments. But then there are things as raging as they've ever done."

A second source who has heard the album says "there's some techno-reverb stuff happening on one track which would lend itself to a dance remix. Over all, it's mellower than Monster but cooler than Automatic For the People. " The group plan to make a video for the first single, but they haven't settled on a director yet. They will not tour, and in fact are planning to take a year off. "They're gonna scatter," says our first source.

R.E.M. and Warner Bros. Sign 80 Million Dollar Deal

R.E.M., the hottest free agent in the music business, signed a five-album contract Saturday with Warner Bros. Records worth an estimated $80 million--the largest recording contract ever awarded, sources said. The Grammy-winning band's deal surpassed the $70-million mark achieved seven months ago by pop diva Janet Jackson as well as other mega-deals by such superstars as Michael Jackson and Madonna, whose six-album pacts included film and joint venture record label components. The signing was announced unexpectedly at the Anaheim Convention Center on Saturday, where Warner Music executives were gathered for their annual strategy summit. Delighted at the news, thousands of employees leaped to their feet and broke into a standing ovation.

"This is a watershed moment for Warner Bros. Records--an incredible new beginning for the company," said Steven Baker, president of the Burbank-based label. "R.E.M. embodies everything important about the culture of this company. They are a tremendously hard-working, successful band with integrity and vision. I can't describe how proud we are that R.E.M. is allowing Warner to continue our association with them."

The Athens, Ga. rock quartet, which recently delivered the last of six albums under its previous Warner Bros. contract, has been the target of a fierce bidding war for the past two weeks between such companies as DreamWorks SKG, Capitol Records and Sony Music.

Like Hollywood's movie studios, the major record companies find themselves forced to pay astronomical sums--even at the risk of losing some money on the deals--for the industry's top stars. For the major companies, the superstars are magnets for new talent and offer the firms clout in distributing their entire roster of artists around the world.

Formed in 1980, R.E.M. has sold more than 30 million albums and has been unusually strong in international sales for a rock group. But the pact is so large, with $10-million advances for each of five albums, that some record industry analysts wonder whether Warner Records can make a profit over the life of the deal. By the time the final album is delivered, the R.E.M. musicians will be nearing 50.

One reason R.E.M. was able to secure such favorable terms from Warner is that the band became free agents at the apex of their careers and the deal was negotiated at a time when the firm, trying to recover from two years of corporate upheaval, could not afford to lose the band.

Warner Music, the largest domestic record company, had the resources to outbid competitors and is the only firm that could offer R.E.M. a sweeter return on future sales of its six-album catalog.

Representatives for R.E.M. and Warner refused to discuss the pact. But sources said the band will be paid a $10-million signing bonus plus a $20-million royalty advance on future sales of its six-album Warner catalog. The band is also guaranteed an estimated $10-million advance per album plus a blue-chip 24% royalty on the retail price of each record sold--about $2.50 per record.

The spectacular size of R.E.M's deal raises the stakes in future battles for other superstars and is expected to cause the cost of signing potentially hot new acts to skyrocket in the months ahead. R.E.M's contract covers five albums of new material. Under the terms of the deal, ownership of the masters to those albums will revert to R.E.M. seven years after the contract ends. The band already had negotiated reversion of ownership rights to its current six-album Warner catalog.

Warner will deduct cash advances from R.E.M.'s portion of the royalties until they are paid off--a standard practice in the industry.

R.E.M. consists of guitarist Peter Buck, 39, singer Michael Stipe, 36, and bassist Mike Mills and drummer Bill Berry, both 37. The band, which has won four Grammy awards, is regularly praised by rock critics for its uncompromising artistic integrity.

R.E.M. avoided many of the trappings of stardom by remaining based in Athens, a small college town about 70 miles east of Atlanta, where the band operates an office with just six employees. The band parted ways two months ago with longtime manager Jefferson Holt.

The surprise announcement Saturday followed an hourlong video presentation of music that the company plans to release in the year ahead.

Following a 10-minute display of music and video footage from R.E.M.'s upcoming "New Adventures in Hi-Fi" album, which is due out in two weeks, the band's longtime legal advisor, Bertis Downs, walked onto the stage and interrupted a speech by Warner Bros. Records Chairman Russ Thyret. Downs handed Thyret a telegram from R.E.M., which Thyret read to the audience. The crowd broke into a standing ovation.

"It was a complex of many business, personal and intangible considerations that led the band to sign with Warners," Downs said. "We believe that Warners is the right place for the next phase of the band's career."

Downs did not notify Warner Music co-chairmen Bob Daly and Terry Semel until late Thursday night that the band was ready to enter serious negotiations. "I was thrilled to get that phone call and immediately authorized the deal to go forward," Daly said.

The contract signing followed two 14-hour sessions of negotiations between Baker, Thyret, Downs and attorney Donald S. Passman. Passman is the Los Angeles lawyer who represented Janet Jackson this year and in 1991 when she announced her unprecedented $40-million, three-album pact with Virgin Records. That deal triggered a series of megabuck pacts during the early 1990s, including her brother Michael, Madonna, Prince, Barbra Streisand, the Rolling Stones, Aerosmith and Metallica.

Analysts say that few of these deals have delivered the profits that the companies were hoping for. But in an industry full of uncertainty and single-hit acts, these superstars are perceived as the closest thing to a sure bet.

Signing R.E.M. is regarded as a victory for the new regime at Warner Bros. Records. The band was one of several top Warner artists who threatened to jump ship in 1995 after a corporate battle that forced the departure of beloved Warner executives Mo Ostin and Lenny Waronker.

When Ostin and Waronker joined DreamWorks last year, the betting was that R.E.M. would soon follow. But tensions at Warner Music relaxed after Daly and Semel replaced ousted music chief Michael Fuchs, which led to recent speculation that R.E.M. might stay put.

Still, record chiefs from DreamWorks SKG, Sony Music, Capitol Records and MCA-affiliated Outpost Recordings submitted proposals last week to R.E.M., which included bids ranging from $35 million to $50 million for a four-album deal, sources said.

R.E.M.'s decision to stay is a coup for Thyret, who worked closely with the band for a decade before being promoted last year to chairman of the label. Downs cited R.E.M.'s strong ties to Thyret and other members of Warner's domestic and international staff as a key component in closing the deal.

"My joy is only surpassed by my relief," Thyret said. "The company has been working so hard to get back on course and I think it's finally all starting to come together. This is the best news we could hope for."

Copyright © Los Angeles Times

Atlanta '95 Concert Documented in "Road Movie"

from the July 7 Los Angeles Times:

"The noted Edinburgh Film Festival will be rock solid this year, topped by the Aug. 16 world premiere of the R.E.M. concert documentary 'Road Movie'. The band's Michael Stipe is slated to introduce the film, which was shot by director Peter Care in November at the Omni Arena in Atlanta."

From the July 24, 1996 edition of Addicted to Noise:

There are two versions of REM's 1995 tour documentary, titled "Roadmovie." One, which will debut on August 16 at the Edinburgh Film Festival in Edinburgh, Scotland, is 90 minutes in length. That version will be released as a home video in October.

The other, 60 minute version, is excepted to air on various broadcast and cable outlets in the coming months.

"Roadmovie" was directed by Peter Care, the guy who directed such REM videos as "Man on the Moon" and "Radio Song."

The film includes performances from the last three shows of the tour, which took place in Atlanta on November 19, 20, and 22. Included are versions of Losing My Religion, What's The Frequency, Kenneth?, Star 69, and alternate versions of three songs that appear on the group's upcoming album, New Adventures in Hi-Fi.

There will not be a Roadmovie CD soundtrack release. A source close to the band told ATN that the film documents the group's live performance, and includes no backstage or interview material.

"It has an REM sensibility through and through, and it looks and sounds great," said our source. "It's strictly a concert performance piece. It's not _Don't Look Back_."

Earlier news on "New Adventures in Hi Fi"

(6/7/96 - from an unnamed source)

"A friend of mine has heard the album and describes it as "Peter's record" and "a return to form." More melodic than Monster, with stronger lyrics and many good mid-tempo songs and a few strong rockers. Termed it a cross between Document and Automatic. Very little live stuff (I assume that means the five new songs from the last tour)."

(5/23/96 - From ATN's Music News of the World)

R.E.M. have "just about finished," their next album, according to a source close to the band. The group has a bit more remixing and mastering left to do with producer Scott Litt. The recording and basic mixes of all songs are complete. The album will be released on Sept. 10. There is no title as yet. R.E.M. always leave naming their albums to the very last minute. "They always name them at the end," said our source. "They wait until the end, until something that really captures the record strikes them, and that tends to be late in the process." The album includes some of the material that was written and performed during the Monster tour, including "Wake Up Bomb" and "Undertow." They haven't yet decided if "Revolution" will make the final cut.

The album could include as many as 14 songs, some of which were written in Seattle during the recording sessions. Our source describes the album as having a "diverse sound. It's got some hard-edged stuff as well as some softer, different sounding songs that sound like nothing they've ever done before. It sounds like an R.E.M. record. People who like R.E.M. records will like it." Once the group is finished with the album, as well as some promotional chores (making some videos, talking to the press, etc., etc.) they will take a year off "to do other stuff." We understand that R.E.M. had planned to take a long break after the Monster tour, but had so much material that they felt compelled to record it. There are no plans to tour following the album's release.

(earlier news on new album from ATN's Music News of the World...)

R.E.M. are just about done laying down tracks in Seattle for their follow-up to 1994's Monster; they've got just a week or two of work left (not including mixing, which will likely take place in another city). (Guitarist Peter Buck now lives in Seattle. )The new album will include a number of songs performed by the group during the "Monster" tour (and written during that tour) including "Revolution" and "Wake Up Bomb." Don't expect a return to the restrained approach of Automatic For The People andOut of Time. Our source tells us that this one continues in the modern rock & roll approach that characterized Monster. Expect a "crunchy, noisy, feedbacky, lots of distortion kind of album...If you liked Monster, you'll will like the new one." The as yet untitled album (well, could be R.E.M. have a title in mind, but if so, they haven't shared it with anyone yet) should be out this fall. It's the last album due under their current contract with Warner Bros.; there's no assurance that R.E.M. will resign with that record company. Scott Litt, the group's producer, would certainly like it if they signed to the new Outpost Records label that he partially owns. Although this is certainly not official, our source believes that the group will not tour following the release of the new album.

(earlier news on new album from Q magazine...)

According to Britain's Q Magazine, R.E.M. will be recording again in March 1996. Although Michael said at one point that the album will be "raw," plans are in the works for some acoustic work on the album, as of yet untitled. Among the songs scheduled to be recorded are "Undertow," "Binky the Doormat," (which Stipe himself calls a beautiful, beautiful song, and which Q calls the best REM song in 2 years), "Departure," "Revolution," (Stipe doubts that Revolution will make it onto the album) "The Wake Up Bomb," and two as-of-yet-untried new songs, an acoustic number entitled "Lewis," and a Country Feedback-esque number tentatively titled "E-bow."

Long-Time Manager/Lawyer Jefferson Holt Leaves R.E.M.

Athens, GA-based R.E.M. have split with their manager, Jefferson Holt. Occasionally referred to as "the fifth R.E.M.," Holt first began handling the band's business in 1980. The parting comes after what the L.A. Times described yesterday as "months of tension." For years the group has been co-managed by attorney Bertis Downs, who signed on with them in 1981, right out of law school. Holt, Downs and R.E.M. have remained based in Athens. The group has no plans to replace Holt; Downs will handle management duties.

We don't know at this time what caused the rift between the group and Holt, who has always been a huge R.E.M. fan. Holt was there at the beginning, and navigated R.E.M. through the treacherous waters of the music business, helping the band maintain their integrity as they became one of the biggest rock groups in the world. They have sold some 30 millions albums. They currently owe WarnerBros. just one more album, and a fast and furious bidding war for the group's services is expected.

The R.E.M. Press Release on Jefferson Holt's Departure:

	"R.E.M. announced today that its business relationship with Jefferson
Holt has come to a close.  Holt, long-time manager of the band, has indicated
that he will be pursuing new interests on his own behalf.
       "The band stated that Holt will not be replaced in the near future.
R.E.M.'s business will continue to be guided by attorney Bertis Downs and
its staff at its Athens, Georgia headquarters.  The band and its
representatives will not be commenting further on this matter.  R.E.M. is
currently finishing work on its next album."

We understand that Holt has periodically expressed an interest in pursuing other music-related projects. He has been involved with an indie record label in years past. Holt began managing R.E.M. in 1980, and was long considered almost a fifth member of the band. Although Holt could not be reached for comment, it is believed that the grueling pace of last year's R.E.M. world tour may have contributed to his decision. We're quite sure that his next adventure in rock & roll will be just as interesting as the one that just ended."

"Songs That Are Live" Promo CD Issued

Here are the details on the recently-issued promo CD Songs That Are Live (PRO-CD-7888):

• Crush With Eyeliner (live in Detroit 6/6/95) 4:55
• Tongue (live in Detroit 6/7/95) 4:34
• I Don't Sleep (live on SNL 11/12/94) 3:50
• Country Feedback (live in Athens 11/19/92) 4:45

R.E.M. Completes Monster Tour

On Tuesday night, November 21, R.E.M. ended the Monster tour with the last of three concerts in Atlanta, Georgia. Amanda Brown from Australia provided violin accompaniment on several songs, and the show was reportedly filmed for future cable broadcast. More about the show follows the set list below (courtesy of Gary Huested, huested@iu.net):

• What's the Frequency, Kenneth?
• Crush With Eyeliner
• Drive
• Fall On Me
• Wake Up Bomb
• Undertow
• Losing My Religion
• Binky The Doormat
• Bang and Blame
• (instrumental)
• Strange Currencies
• Revolution
• Tongue
• Man on the Moon (included a walkon by a Elvis impersonator)
• Country Feedback
• Find the River
• The One I Love
• Pop Song 89
• Get Up
• Star 69 (Luscious Jackson dumped shredded paper on everyone during song)

  Encore

• Nightswimming
• Let Me In
• Everybody Hurts
• Hot Java
• So. Central Rain
• Departure
• Radio Free Europe (only time played on Monster tour)
• It's the End of the World
• Wild Thing

More Comments on Tour Finale

The stage got more than a little crowded Tuesday night at the Omni as sports stars, other musicians, friends and members of R.E.M.'s extended "family" helped the Athens-based band celebrate the end of its "Monster" world tour.

With tennis stars Monica Seles and Jim Courier watching R.E.M.'s third sold-out Atlanta concert from close-up seats, vocalist Michael Stipe and bandmates even tossed in their seldom-played '81 hit "Radio Free Europe" and a 10-minute version of "Wild Thing." The celebration started during opening act Luscious Jackson's set when the Atlanta Hawks "Harry the Hawk" balloon floated out carrying a "Thanks, Luscious" sign. It peaked when about 100 people connected to R.E.M. gathered onstage during "Radio Free Europe." In addition to Seles and Courier, celebs at the show included PGA golfer Davis Love II, Rolling Stones keyboardist Chuck Leavell, Warner Bros. Records Chairman Mo Austin and Dan Patrick of ESPN Sports. After a six-song encore, Stipe, who wrote "I love you" as a message to the audience on his left arm, and other members of the R.E.M. tour group headed to the Roxy in Buckhead for a private party.

From Kimberly Willett (kimmommsw@aol.com):

There were about 20 people in the front row dressed in doctor's operating gowns and hats. This was obviously to make fun of the band's medical difficulties during the tour. When Michael came out and saw them he laughed and waved with both hands (motioning "no") and shook his head.

Then, during the second chorus of "Man on the Moon" when Michael does his little Elvis maneuver an Elvis impersonator jumped up on the stage and danced around. (It was quite hilarious.)

During Star 69, the Luscious Jackson members (the opening band) came up on stage and through a ton of shredded paper on everything and everyone. The band was playing along and throwing it back at them. Michael even seemed to stop singing for a few words while he chased them around.

During the concert, people were throwing shirts on the stage. Michael would look at them and decide whether to keep them or not. He threw most of them back saying something like "I'm not going to tell you I'll wear it if I'm not really going to." But, he did take one person's shirt and wear it for a couple of songs.

Also, at one point Michael said something like "We started our tour in Australia on January 13th 1995, which was a very lucky day for me. Now, we're here and I don't even know the date. I guess I'm supposed to feel sentimental, but I don't feel the least bit f---ing sentimental right now. I'm just f---ing glad to be here."

Then, just when you thought it was over they broke into "Wild Thing."

From Sujan Hong (sqh4806@is.nyu.edu):

There was a lot of improvisational stuff from Peter this show. He did not want to leave the stage, it seemed. He could have played forever. So after So. Central Rain, the band appeared to be conspiring on stage. They disbanded from their little circle and broke out into Radio Free Europe and the place exploded. So what if Michael couldn't remember the words, I bet most people couldn't either. After Star 69, actually during, Luscious Jackson came out and tossed shredded paper everywhere, it was almost like a snowball fight with paper. The strobe light made it look even cooler.

During Luscious' set, a hawk blimp floated through the air with a thank you sign pinned on it. Also the gigantic screens played a game of tag as Luscious Jackson thanks R.E.M. and R.E.M. would like to thank Luscious Jackson blinked from the rafters.

It's the End of the World became a Clarke County Orgy as everyone affiliated with the tour and R.E.M.- from Microwave to Chris Bilheimmer to Jefferson to the woman who grabbed Michael, gave him a hug, kissed him and told him she loved him (anyone have a clue to who that was? didn't really look like his sister) danced on stage, singing, throwing paper, having the best time possible, just like everyone else in the Omni. When the song finally ended, no one wanted to leave, so they broke into Wild Thing. The Mills busted out a few times, Scott McCaughey played while lying down, Michael was running around like a little kid, Bill was going crazy on the drums, Nathan was having a moment with his sig. other and Peter looked like he never wanted to put down his guitar.

As the set list read..."That is all"

"There Wasn't Even Time To Say Goodbye..."

The following obituary from the Athens Banner-Herald of 11/26/95 may be of some interest to anyone familiar with R.E.M.'s Wendell Gee, from Fables of the Reconstruction:

WENDELL GEE, Pendergrass

	Wendell Gee, 69, of 695 John B. Brooks Rd., died Saturday,
November 25, 1995.
	A native of Jackson, GA., Mr. Gee was a son of the late Roy Gee,
Sr. and Emma Fowler Gee and widow of Jenny Gee.
	He operated Wendell Gee Used Cars in Pendergrass and was a member
of Pendergrass Baptist Church.
	He was a U.S. Army veteran of World War II and was a member of
the American Legion and the Ga. Sheriff's Assoc.
	He was preceded in death by a son, Randall Gee. 
	Funeral services will be at 2pm Monday at Pendergrass Baptist
Church, Reverend Charles Jenks and Larry Elrod officiating.
	Survivors include his wife, Lois Smith Gee; a daughter, Elaine
Watson; a stepdaughter, Rebecca Skinner; two sons, Ronnie Gee and Ricky
Gee; a stepson, Patrick Garrett; a brother, Roy Gee, Jr.; 14
grandchildren and 3 great-grandchildren.

Pendergrass is a wide spot in the road between Athens and Gainesville. One member of the Gee family or another seems to own all of what few businesses there are, to judge by the signs. Wendell Gee Used Cars is prominent among them and quite visible to all who drive the highway through town.