Calling Jamaica (Automatic For The People - R.E.M.)

Member Name: avacarrdo

Product:	Automatic For The People - R.E.M.
Date:	25/05/08 (634 review reads)
Rating:

Advantages: It's awesome

Disadvantages: That it's not longer

I have a habit of not being able to connect bands with what songs they wrote. I'm constantly being surprised when someone puts on a CD and I think 'Wow! I didn't know this song was by U2!" I know the band, I know the song, but I'm just unable to put a name to a face, as it were. And so it was with R.E.M. A while ago I was at a friend's house when he put on this CD.

"Wow!" I screeched. "Is this REALLY R.E.M.?"
"Uh, yes" He said. "Who did you think it was?"
"I thought this band was the one with the front man who is now a politician in Australia and is really evil."*
"No, that's Midnight Oil."
"So THIS is R.E.M." I said in wonderment.

So now I actually know who they are, I've been obsessed with them for the last month or so. It doesn't help that in the shop I volunteer at I get to choose the music, and there's an R.E.M CD in the collection. I play "Automatic for the people" as much as I can possibly get away with. I'm sure that somehow listening to R.E.M in Leeds is helping starving orphans in Africa. I'm pretty great that way, you know.

A BIT OF HISTORY:

R.E.M was formed in Athens, Georgia (US) in 1980 by Michael Stipe, Peter Buck, Mike Mills and Bill Berry. Starting off low key, by playing in and around Athens and Atlanta, their first single; "Radio Free Europe", was released in 1981, and since then the band has gone onwards and upwards. They've got a very distinctive sound, thanks to Stipe's voice. It's hard to describe, but I would say that it sounds like he's often singing at the top of his register; as if his voice is about to crack if he sang a semitone higher. It's quite a raw voice, almost a wail at times, and often he doesn't enunciate clearly, so you don't always understand the lyrics. His voice is not your only obstacle to understanding the lyrics; he is notorious for writing lyrics that are impossible to decipher. There are words, yes, and punctuation, but it's often hard to figure out what on earth he's talking about. I think he takes great joy in doing this, so I will bow to the greatness of Michael Stipe, and try to do as little analysis of the lyrics as possible in this review (Also, because it's hard, and I don't like hard stuff.)

"Automatic for the people" was released in 1992, and the album reached No 1 on the UK charts, and No 2 on the US ones. It's commonly described as quite a dark, sombre, very reflective album, a statement with which I disagree slightly. I don't think it's particularly depressing; rather, I find it interesting, and I like interesting things. I like the melodies, the orchestration, and the overall sound of the album, and listening to it makes me feel quite good. Some may say that I've completely missed the point of the album, although I prefer to think that it's because I have the emotional and musical sensitivity of a piece of tinfoil (Get it?? Reflective? Tinfoil? Oh, sometimes I amuse myself far too much)


1. DRIVE (4:31)
Let us begin our musical odyssey with "Drive." There's quite a heavy, ominious guitar into, as well as some very serious reverb going on when Stipe sings. It's very strong rhythmically, which echoes the refrain of "tick-tock" that keeps repeating throughout the song. I especially like the introduction of the electric guitar at about the two-minute mark. It lifts the song from being mournful into something much more multilayered and more interesting melodically. Overall though, it's quite a 'heavy' song; the musical equivalent of eating a German meal consisting of meat stuffed inside meat, and then a plum pudding for dessert.


2. TRY NOT TO BREATHE (3:50)
It almost sounds like a Celtic song; with a sort of swingy, folky sound. Peter Buck on the guitar gives a nice upbeat sound, keeping the pace of it going forwards, rather than slipping back. Stipe sings well here, and I can almost imagine that he's developed an Irish lilt to his voice when singing this. It's the guitars that give this song its rhythm, and the percussion isn't too overwhelming. The lyrics are typically completely bizarre, there's something about wanting something "to fly over my grave again"? I don't really know. But it's a good song, and works well, coming as it does after the heaviness of "Drive".


3. THE SIDEWINDER SLEEPS TONITE (4:06)
This is a wonderful track. I mean, how can you not love a song that starts off with Michael Stipe singing the "ooe-oooe-oooe-oooe" bit from "The Lion Sleeps Tonight"? It starts off with some lyrics about phoning home, lets us all know that the sidewinder, is, in fact, sleeping both in a coil, and on his back (I'm glad they told me this. It's always good to be informed about the Sidewinder), and then complains about how "instant soup doesn't really grab me". It's fun, and has some great guitar bits. In this song, more than any other, you certainly feel like Stipe is singing just out of his range. It does get a bit whiny up on the high notes, but the song is just so much fun, that it doesn't really matter.
Fun Fact: If you listen carefully, just after he sings "Or a reading from Doctor Seuss" (At about the 2:31 mark) you can hear Stipe start laughing, and attempt to keep on singing. Cute.
Funnier Fact: The lyrics "Call me when you try to wake her up" are repeated 32 times.
Funniest Fact: Before I actually researched the lyrics for this review, I was totally convinced that the above phrase was "Calling Jamaica". And I kept thinking to myself "Why doesn't Jamaica just pick up the bloody phone?!?"


4. EVERYBODY HURTS (5:17)
This was written by Michael Stipe, allegedly in an effort to stop teenagers thinking about committing suicide. Whilst some people find it very moving and touching, personally I hate this song. I find it mawkish, boring, and unoriginal. Lyrics like "everybody cries/Everybody hurts sometimes" just seem so bland compared to all the other songs on the album. And I know it's so the song would appeal to (mostly) teenagers and people in pain, but I am neither of those, and the song didn't 'speak' to me. It's been covered a hundred million times so maybe that's part of the reason I don't like it. I don't know. Stipe's voice seems just so harsh to listen to, compared to the very mellow instrumentals. In fact, (if you'll pardon the imagery) they way he forces and strains his voice in his effort to get the words out, you'd be forgiven for thinking that he's singing this whilst having a particularly brutal session on the toilet.


5. NEW ORLEANS INSTRUMENTAL NO 1 (2:13)
This piece consists of a guitar riff which is repeated, overlaid with various instruments and melodies. Although the song is heavy on the bass, the lightness of the melody makes this quite uplifting to listen to. I don't find it to be a depressing piece, there's something about the choice of melodies and harmonies that intrigue me. It's not very long, and a nice change of pace. I think it fits in well as the fifth track on the album.


6. SWEETNESS FOLLOWS (4:19)
According to my in-depth research (Wikipedia), Stipe has dropped hints that the lyrics could be interpreted as a rant against religious ideas that it doesn't matter if this life is bad, because there's better to follow in the next. If that is indeed true, then it's very typical of Stipe to write very "ranty" lyrics, yet set them to such a melodic and almost hypnotic score. It's probably all synthesised, but you get the impression that there's both an organ and a cello in the mix as well, and by bringing in the electric guitar at around the 2:05 mark, gives the song a completeness and complexity that's very pleasing to listen to.


7. MONTY GOT A RAW DEAL (3:17)
This starts with a very pared-back sound, just Stipe and an acoustic guitar, before bringing in the percussion and backing vocals. For some reason, this song brings to mind cowboys. I don't know why, but you can imagine it being almost a dirge or a lament for an old cowboy. It's quite slow, and I think could actually sound a little better sped up. It's not my favourite track on the album, but it's still OK to listen to.


8. IGNORELAND (4:24)
This one has a very '80's' kind of sound, with lots of electric guitars and heavy percussion. Stipe's lyrics are a bit indistinct and faint, as if someone didn't get the sound levels right, and he's being drowned out by the guitars. The lyrics are quite political, such as "They hypnotised the summer 1979/Marched into the capital brooding duplicitous, wicked and able, media-ready/Heartless and labelled" and "TV tells a million lies. The paper's terrified to report". It's got a lot of power and soul behind it, I could imagine it being used as a protest song, like some of U2's songs are. It's hard to sing along to, as Stipe sings very fast, running lines of vocals into each other. It's probably my least favourite song on the album.


9. STAR ME KITTEN (3:15)
After the powerhouse that is "Ignoreland", this is a nice change of pace. Also, for a change, Stipe seems to be singing at the bottom of his vocal register. It's so painfully low that my vocal chords are constricting in sympathy. It's about keys, and loving someone called "Kitten". It's almost hypnotic, as the backing vocalists are just sort of humming along, and the whole feeling of this song is of languidness, like you're sinking into treacle. Mmm. Treacle.


10. MAN ON THE MOON (5:13)
This song makes reference to the performer Andy Kaufman, and the song was featured in the 1999 film "Man on the moon" starring Jim Carrey. It starts off with some really slinky bass and guitar lines. It's really rhythmical, and catchy, especially with the "yeah-yeah-yeah's" that pop up frequently. The tempo quickens up for the chorus, and it becomes much more "rock-y", before slinking back down again in the verses. It's a very well-constructed song, in my opinion. Besides, Stipe does a pretty awesome Elvis impersonation, so what's not to love, really?


11. NIGHTSWIMMING (4:16)
This is my new favourite song. It's absolutely beautiful. I love the orchestration of it. There's absolutely no percussion, and it just starts off with Michael Stipe and a piano, and the song just swells with the addition of strings (Arranged by Led Zepplin bassist John Paul Jones). The lyrics themselves are memorable, evocative of a bunch of friends going for a night-time drive and then skinny dipping. Although, knowing Stipe's propensity for downright confusing lyrics, there may be a secret message to Satan in there somewhere. But there's something about the stripped-down sound of this song that lifts it to the sublime. Sublime is really the only word I know to describe this.


12. FIND THE RIVER (3:50)
Stipe sings over a strumming guitar and it's quite a low-key start to the song. It picks up during the chorus, with the addition of the backing vocals and the piano. The lyrics are fantastic; "Me, my thoughts are flower strewn/Ocean storm and Bayberry moon" there's a certain sense of dreaminess about it all. It almost reminds me of Simon and Garfunkle if they had decided to rock things up a bit. It's a very soothing song to finish this musical journey.

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Overall, a written review is not going to tell you much about the sound of an album. You'll have to listen to it yourself to see what you think. It sells on Amazon.co.uk for around £4 new, and only 95p used, as well as on HMV.co.uk for £4.99. I'm just glad I finally found out about R.E.M, and listened to this album, as it is truly fantabulous. Now, if I could only figure out who sings that song that goes "doo doo doo doooooooo" in the middle, and also if I've ever heard a song by that band, you know, the famous one with those guys who sing that song........



* FYI, the frontman of Midnight Oil, Peter Garret, is now Australian minister of the environment. Although, responsibility for the two biggest environmental issues facing Australia today, Water and Climate change, have been given to people who, oh, I don't know, WERE NOT INCLUDED IN THE GOVERNMENT AS A PUBLICITY STUNT.

Summary: R.E.M. at their finest, with a truly memorable album.